Full text of "A descriptive catalogue of early prints in the British Museum: German and Flemish Schools"

A DESCRIPTIVE CATALOGUE OF 



EARLY PRINTS. 



A DESCRIPTIVE 



CATALOGUE OF EARLY PRINTS 



IN THE 



BRITISH MUSEUM. 
VOL. I. 

GERMAN AND FLEMISH SCHOOLS. 



WILLIAM HUGHES WILLSHIRH, M.D. EDIN. 



LONDON, 1879: 
PRINTED BY ORDER OF THE TRUSTEES. 



LONGMANS & CO., PATERNOSTER Row; 

B. QUARITCH, 15, PICCADILLY; A. ASHER & CO., 13, BEDFORD STREET, 
COVENT GAROKN ; Tkl RNER & CO., 57 & 59, LUDGATE HIM. 



yt 



* 



ME 

5? 

Li A3 
1819 




V v - 



CHISWICK PRESS: C. WHITTINOHAM, TOUKS COURT, 
CHANCERY I.ANE. 




|MONG the numerous works in the Museum 
Collection of Prints are many early cuts from 
both wood-blocks and metal plates, which, 
though often not possessing qualities of artis- 
tic value, are of importance in relation to the history of 
engraving as illustrating the religious and social aspects of 
their time. Many of them being unique, all being scarce, and 
their congeners fast disappearing from the print market, it 
has been deemed advisable to bring them together and de- 
scribe them under their characteristic features. 

By this means it is trusted that these early efforts in 
an important branch of Art may be rendered more interesting 
and more instructive than they could be while left undistin- 
guished and dispersed among the general collection. 

The examples described in the present work are anony- 
mous prints chiefly of the German and Flemish schools of 
the fifteenth and the first quarter of the sixteenth century. 

It is intended that the Catalogue now placed before the 
public shall be followed by other volumes containing the 
works of Masters of the same schools. 

The present Catalogue is the work of Dr. W. Hughes 

AVillshire. 

GEORGE WILLIAM REID. 

, 1879. 



vi PREFACE. 

In the performance of the duty which has devolved on 
the author, he has endeavoured to lighten somewhat the 
dryness of mere technical details by occasional references to 
the symbolism and legendary histories which many of the 
examples described directly illustrate. These references are 
but limited in extent, it is true, but to have widened the 
field of commentary would have been to depart further from 
the legitimate object of the Catalogue than was justifiable. 

In carrying out his intentions the author has freely had 
recourse to the important work of Messrs. T. 0. Weigel and 
Zestermann, " Die Anfange der Druckerkunst in Bild und 
Schrift," &c., Leipzig, 1866. In this work, both archaeo- 
logical and technical information were ready to the hand of 
the writer, as. well as descriptions of many of the prints 
formerly in the cabinet of Mr. T. 0. Weigel, and now 
among the treasures of the British Museum. Another 
writer to whom much is due is the late Mrs. Anna Jameson. 
Of her several interesting volumes on Sacred and Legendary 
Art free use has been made. 

To omit mention of the obligations which the author 
has been under to Edward Maunde Thompson, Esq., the 
Chief of the Manuscript Department of the Museum, in 
helping him to the decipherment of some obscure texts 
and inscriptions, and to Robert E. Graves, Esq., of the 
Department of Printed Books, for valuable aid, would be 
as uncourteous as unjust. 

WILLIAM HUGHES WILLSIIIRE. 



TABLE OF CONTENTS. 




NTRODUCTION . 

DIVISION A. 

Special Incunabula . 
Corona Lucis of Aix-la-Chapelle 
The ' Passion " of the Master of the year 1457 
The Virgin and Child, by Wolfgang, A.D. 1477 

DIVISION B. 

Prints in the Maniere Criblee 
Ten Commandments, and the Trespass of them 
A " Passio Christi," fragment of . 
Christ on the Cross ...... 

Crucifixion of the " Mazarine " or Gutenberg Bible 

" Ecce Homo " . . . 

Scenes from the Life of Christ .... 

"Salvator Mundi" 

Archangel Michael ...... 

" Madonna in Gloria "..... 

Purification ....... 

Death, &c., of the Virgin ..... 

Saint Andrew ....... 

Anthony ....... 

., Bernhardino of Siena ..... 

Cliri-toplier ...... 

Francis of Assisi ..... 

George of Cappadocia. .... 

Ma-s nf Saint Gregory ..... 

Saint Jerome ....... 

Laurence ....... 

Martin ....... 

Roch 



IVUiK 

3 



3 



15; Appendix, 333 

. 30 

42 ; Appendix, 335 



47 
57 
64 

74 
79 
85 
87 
89 
90 

9 
92 

93 
96 

97 
98 
100 
103 
05 
106 
110 
1 1 1 

I 12 



viii TABLE OF CONTENTS. 

PAGE 

Saint Sebastian . .114 

Barbara . . H5 

Catherine of Alexandria ... . ..117 

Dorothea ....... .121 

Female, unrecognized . . . . . . . .122 

A Judicial Duel . . 122 

Modifications of the Manilre Cribtte . . . . . . 1 24 

Christ adored by a Monk . . . . . . . . . 1 24 

Virgin and Unicorn . . . . . . . . . .125 

Saint Catherine and Saint Barbara . . . . . . 1 3 1 

Various Male and Female Saints . . . . . . .132 

Tree of Consanguinity . . . . . . . .136 

DIVISION C. 

Metal cuts . . . . -141 

Holy Trinity . . 145 

Infant Christ on a Flower ... ..... 146 

Christ before Herod 148 

The Flagellation of Christ 1 49 

The Stripping of Christ 1 50 

Christ on the Cross . . . . . . . . . .151 

Instrument* of the Passion . . . . . . . . 1$2 

Sacred Cipher 155 

Virgin and Infant Christ . . . . . . . . 1 56 

44 Hortus Conclusus," &c. . . . . . . . . .158 

Saint Jerome . .... . . . . . . 1 60 

Nicholas of Tolentino ... . . . . . .161 

Sebastian. . . . .162 

Female and Martyr . . . . . . . . 1 63 

Cute from the "Horace" of the year 1498 . . . . .164 

DIVISION D. 

Woodcuts 166 

Biblia Pauperum . ........ 1 74 

Apocalypsis Sancti Johannis . . . . . . . .183 

Der Entkrist 185 

" Quindecim Signa " . . . . . . . . . .191 

Dat Sterfbocck 191 

Speculum Humana: Salvationis . . . . . . . 1 93 

Meditationes de Turrecremata . " . . . . . 1 94 

Saint Christopher . . . . . . . . . . 1 94 

Brigitta of Sweden ..... ... 1 96 

Christ on the Cross . . . 197 

Various Saints at St. Ulrich's, Augsburg . . . . . .198 

Alphabet in Figures .......... 200 

Moses . .... 209 

Sacrifice of Abraham . . _ 1 1 



TABLE OF CONTENTS. ix 

PAOB 

Jesus on a Bank . . . . . . . . . .211 

Jesus as a Franciscan . . . . . . . . .212 

Raising of Lazarua ... ..... 2 1 3 

" Ecce Homo " 215 

The Flagellation and Mockery . . . . . . . .218 

Virgin and Loin Cloth . . . . . . . . .219 

Christ on the Cross .......... 220 

A"Pieta" 227 

Christ as the Gardener . . . . . . . . .228 

Last Judgment .......... 229 

Christ Enthroned . . . . . . . . . . 23 1 

Saint John .... ...... 23 1 

Christ before Caiaphas ......... 232 

Cute from a " Passion " 233 

Christ on a Tau .......... 234 

Sacred Cipher, &c. .......... 235 

Instruments of the " Passion " ........ 237 

Scenes from the Life of Christ ........ 238 

Angelic Salutation .......... 238 

" Madonna in Gloria "......... 239 

Virgin and Child 240 

Assumption of the Blessed Virgin ....... 240 

Virgin, Infant Christ, and St. Anna . . . . . . .241 

Virgin and Child . 244 

" L'Incoronata ".......... 245 

The Nativity 246 

A " Reposo " 247 

Virgin and Child in Glory ......... 248 

Virgin, Infant Christ, and St. Anna ....... 249 

" Maria addolorata ".......... 250 

Instruments of the "Passion " and Sacred Heart ..... 251 

Saint John the Baptist ......... 252 

James the Greater ......... 255 

Paul .255 

Peter . . ... 256 

rcessory Saints . . . . . . . . . .256 

Saint Anthony ..... ..... 259 

Saint Anthony and Saint Sebastian . . . . . . -259 

Bernhard of Clairvaux . ..... 26 1 

Christopher ..... .... 261 

Florian 262 

,, George and Dragon ......... 262 

-lint (lrrir'ry .... .... 264 

Saint Jerome ........... 268 

Hubert . ....... 274 

Peter Martyr ...... ... 275 

Sfbastism ........... 275 

278 



TABLE OF CONTENTS. 



Saint Barbara ..... 

Bridget, of Sweden . 

Catherine, of Alexandria . 
Assumption of Mary of Egypt 

Saint Rosalia 

Genealogical Tree of the Dominicans . 
Various Religious Subjects 
Apparition of Christ ... . 

Rosary and Indulgence . . 
Ten Commandments .... 

Mirror of Penitence .... 

A Pastoral Directorium 

Hermits ...... 

Ten Periods of Life - 

Seven Ages of Man .... 

Kalendars . . . . 

Emblem of the World 

Tabula Cbetis 

Mirror of Death ~. 

Henry and Kunigunda 



279 
280 
281 
28 3 
284 
285 
289 
290 
291 
292 
294 
296 
297 
298 
301 
302 

305 
306 

309 
310 



DIVISION E. 

Exceptional Processes 
An Impression in Paste ..... 

Fonns Black on a White Ground . . 
Composite Effects ...... 

Forms White on a Black Ground 

A Sepulchral Brass . . . . . 

Composite Effects . . ' . 

Lights becoming Darks . . . ' . . 

APPENDIX. 

A Processional Cross 

Mary with the Child, adored by the Abbot Ludwig 



3H 
3'3 
3H 
317 
318 

324 
325 
327 

33 1 
333 
335 




LIST OF PLATES AND REFERENCES TO THE 

DESCRIPTIONS OF THEIR SUBJECTS 

IN THE VOLUME. 




LATE I. FRONTISPIECE. 



The Crucifixion of the Mazarine or Gutenberg Bible. Re- 
duced in size. Page 79, B. 7. 



PLATE II. 



The "Last Supper" from the "Passion" of the Master of the Year 
1457. Piii- :-2, No. 3. 



PLATE III. 



Saint Kriincis of Assisi receiving the Stigmata. Reduced in size. 
! 03, B. 23. 



IM.ATK IV. 

Saint IJ.K-h. I'agr m, B. :$-'- 

PLATE V. 

Saint Dorothea of Cappadocia. Page 121, B. 41. 
PLATE VI. 

Tin- Holy Trinity. IJrdn.-.-d in M/.'. Page 145, C. 1. 

I'LATK \ II. 

Virgin iiiul Infant ClirM. !! hi. , ,1 in MZC. Pg W> ' 



LIST OF PLATES, ETC. 



PLATE VIII. 



The Letters K, F, L, and oniaiuental cut of " An Alphabet in Figures.'* 
Reduced in sixe. Page 201, Nos. 5, 6; page 202, No. 11; page 203, 
No. 24. 



PLATE IX. 



The Mass of Saint Gregory with an Indulgence. Reduced in size. 
Page 264, D. 80. 



PLATE X. 

The Lorer. Page 315, E. 3. 




INTRODUCTION. 




INTRODUCTION. 




S the series of early prints hereafter described 
passes in review before the student, he can 
scarcely fail of being struck by certain pecu- 
liarities which it possesses. In the first place, 
he will be impressed most likely by the character 
of the subjects represented in it. Secondly, by 
the particular manner in which these subjects 
have been designed and artistically treated. Thirdly, his attention 
may be arrested by the various technical processes through which 
these designs have been developed on the wood blocks and metal 
plates from which the impressions before him have been derived. 

As regards the character of a large majority of the subjects 
represented, it will be seen that it is of a religious nature, the sub- 
jects being chosen from the Old and New Testaments, from the 
traditions of the Church, and from the Lives of the Saints. As 
relates to the manner in which these subjects are treated, the ob- 
server can hardly avoid being impressed by the stern realism with 
which tha stories have been told, and by the often almost repulsively 
exaggerated manner in which that realism has been expressed. In 
a few examples he will meet with, it is true, ideality, suavity, and a 
certain sensuous yet pathetic grace associated with a refinement in the 
forms appealing to a like spirit of feeling and culture in those whom 
such examples may attract. But in general both artist and spectator 
would appear as if they felt called upon chiefly to affirm that sorrow 
is physical pain, and that physical pain compels our humanity to 
make known by physical signs what it suffers. That suffering if of 
endurancy entails bodily degradation, that torture is torture, thorns 
are thorns, blood is blood, and that insult, contempt, and mockery 
both have and exhibit unmistakable signs of their intent and pur- 
pose. Simply to hint such things through a veil of ecstatic feeling' 



4 INTRODUCTION. 

or mystic symbolism was clearly not the self-imposed duty of the 
authors of these works of Art, or if a Christian symbolism have 
been resorted to it was in union with such an unmistakable mate- 
rial expression of its underlying realities as to constitute rather a 
dramatic than a spiritual representation of the incidents meant to 
be conveyed. 

While examining the various technical processes by which the 
designs afterwards described have been worked out by the engraver, 
even those persons not unfamiliar with ordinary technical procedures 
might find themselves at fault in rendering a satisfactory account of 
some of the methods which have been there adopted. As to the 
manner in which the ordinary woodcuts of Division 4 (D), for ex- 
ample, were executed on the blocks, and of that by which these 
blocks were made to yield impressions, not any difficulty could be 
experienced, but when the examples under Divisions 2 (B) and 5 (E) 
come under notice, the rationale of their technic may not be so 
apparent, even if it be not felt to be quite unexplainable. Another 
striking feature connected with the technical execution of the incu- 
nabula before us is the particular manner in which many of them 
have been coloured. 

It may be asked, What explanation can be offered for the preva- 
lence of these peculiarities among the rude witnesses to the Art of 
engraving in Germany and other Northern countries during the 
fifteenth century, and now under notice ? 

In the first place it should be borne in mind that in the countries 
this side of the Alps that particular phase in the general movement 
of the Renaissance, as the latter related to Art viz. the classical 
Renaissance, had been up to the middle of the fifteenth century in 
Germany and neighbouring regions rather destructive or obstructive 
than constructive in its work. In Italy, on the contrary, it had not 
only broken down the limits within which the religious system of 
the Middle Ages had encircled Art, but had overflown the artistic 
manifestations of Christian sentiment with a flood of ideas and 
imagery drawn from the legends of classical poetry and of pagan 
life. The new-born offspring of this rejuvenescence formed already 
tangible results to the Italian kingdoms, which though now deprived 
for ever of many of the hands which had expressed the faith in pic- 
tures of mystic passion and religious reverie, were then beginning 
to reap the fruits of the new evolution in Art, as they had already 
done in literature. This evolution, though compromising for a time 
the earlier severities of Christian Art, yet dealt with its subjects in 
a manner which, while satisfying the demands of the Church and 
the people now influenced by the humanistic studies of the classical 
literary Renaissance, was nevertheless destined at a future period to 
lose altogether its hold of the spirituality of Art, and to find its 



INTRODUCTION. 5 

homo only "in tho life of the senses and the blood blood no longer 
dropping from the hands in sacrifice, as with Angelico, but as with 
Titian, burning in the face for desire and love." (Pater's " History 
of the Renaissance," p. 200.) 

To the Northern nations not any such garnerings of new harvests 
\vere yet practicable. Destined to receive the impetus of the Re- 
naissance from the South, Germany and the Low Countries had to 
wait for any substantial gifts it had to offer, until, e. g. adventurous 
countrymen penetrating beyond the Alps, and becoming animated 
with the spirit of the New Evangel, should return to the levels of 
the Lower Rhine, where the Van Eycks would open out tho new 
pathway, and the German masters of Niirnberg, Ulm, Augsburg, and 
Kolmar would follow in the train. 

It is thus apparent that before the new influence revolutionizing 
Southern Art could be felt in the North, a shock had to be expe- 
rienced. This was the unproductive break between the old mediae- 
val Christian Art and the Art of the new or classical Renaissance. 
The ancient thoughts of mediaeval Christianity, as represented in 
the architecture, sculpture, and painting of a former period, no 
longer flowed in from Italian sources to beyond the Alps, and the 
peoples left to themselves were as yet unable to evolve anything 
from the new influences then vivifying the more cultured minds of 
Italy. All that the North made of Art for itself it still made 
Gothic, the artist still acknowledged the direction of the Church, 
which continued to act under the direction of the Great Gregory, as 
to the instruction of the less literate by pictorial representations 
" nam quod legentibus scriptura, hoe idiotis prcestat pictura cernenti- 
bus, quia in ipsa etiam ign or antes vident quid sequi debeant, in ipta 
legunt qui litteras nesciunt. Unde et prceripue gentibua pro lectione 
pictura est." (Migne, Pat. cursus, torn. Ixxvii.) 

Thus does it happen that such remains of German Art as have 
reached our time from the fifteenth century generally partake not 
only of the religious but of the mediaeval or of the Gothic religious 
character. 

In replying to the next legitimate inquiry, Why this character 
was portrayed in the exaggeratedly realistic and bizarre way in 
which it appears in the class of engravings at least now under con- 
sideration ? we must retrace our steps somewhat. 

In the evolution of Art, or before the development of the Italian 
Renaissance, painting began as the handmaiden of religion and of 
the Church, more particularly under the fostering care of the two 
great and popular Orders of St. Francis of Assisi and St. Dominic. 
Guided by this directive influence the artist strove to represent 
more mystical ideas of mediaeval Christianity, and from tho middlo 
of the thirteenth to that of tho fifteenth .-iitury \\- find its thoughts 



6 INTRODUCTION. 

and emotions embodied in the spiritualized conceptions of a Cimabue, 
Orcagna, Botticelli, Fra Angelico, Filippino Lippi, and a Francia, 
and at an after-period in the more secularized ideas of a Raphael, 
Michael Angelo, and a Da Vinci. It happily fell to the lot of many 
of these great workers to have at their command full scope and 
opportunity for the exertion of their talents. The walls of palaces, 
of churches, of monasteries, cemeteries, and convents, and which 
were more or less open to the people, were at their disposal, and 
the higher and more cultivated minds were at once the helpers and 
the helped, for what the former gave to Art the latter bestowed 
much upon them in return. 

In the North these advantages were wanting. The people 
lived at home and not abroad ; their life was more domestic than 
public; their rooms were small, wall space for decoration was 
limited, and the climate was inimical to works in fresco and tem- 
pera. The minds of the people, too, had not been influenced by 
Dante and Petrarch, and their thoughts and emotions were those 
of the North, not of the South. Hence, such indigenous Art as 
existed was small in character from domestic requirements, and of 
a type conformable to the predilections of a Northern race. 

As the Church in the North could not offer opportunities for rival- 
ling the frescoes and temperas of its Southern sister, it remained satis- 
fied with directing the energies of Art towards the religious educa- 
tion of the mass of the people by the plentiful distribution among it 
of -such inferior artistic produce as is hereafter described, and with 
the decoration of places of limited extent with interrasile, chased 
silver, and other metal plates, and ornaments of religious character, 
and plates engraved in the maniere criblee, from some of which im- 
pressions were afterwards printed off on parchment and paper, though 
the plates were not originally intended to serve such a purpose. 

In thus forwarding the religious culture of the people, the 
Church was forced to be satisfied with Art of a very unidealized 
quality, except when the subject became purely decorative in treat- 
ment. Art continued Gothic and often of a grotesque form, the 
old Italian influence was prevented from idealizing the parts beyond 
the Alps, and as the modern Renaissance feelings were not yet in 
operation among either princes or people, the spirit of Art became 
gradually lost in its matter, and grew more realistic and outre day 
by day. 

Nevertheless, the Church accepted the position ; for by this same 
realistic treatment the thoughts and legends intended to be conveyed 
went forcibly home to the minds of a certain and extensive body of 
the faithful, and hence Art did not fail in its results. If the earlier 
Italian masters shed an influence over the cultivated as well as on 
the ruder minds of their period, it must not be forgotten that the 



INTRODUCTION. 7 

bulk of the more realistic productions of the North was to oxort a 
power over such persons as could not come under the spell and 
teaching of frescoes and temperas, except to a very limited extent. 

That these productions did exert a power, and a great one 
too, is scarcely matter for astonishment, for, as remarked by Mr. 
Symonds 

" The most prized among the Christian virtues had no neces- 
sary connection with beauty of feature and strength of limb. Such 
beauty and such strength at any rate were accidental, not essential. 
A Greek faun could not but be graceful, a Greek hero was of neces- 
sity vigorous. But Saint Stephen might be stedfast to the death 
without physical charm ; Saint Anthony might put to flight the 
devils of the flesh without muscular force, and supposing that the 
artist should abandon the attempt to exclude ugliness and discord, 
pain and confusion from his representation of the ' Dies Iras/ how 
could he succeed in setting forth by the sole medium of the human 
body the anxiety and anguish of the soul at such a time ? " (" The 
Renaissance in Italy/' vol. iii. p. 15.) 

It is at the two extremes indeed of Art dealing with Christian 
topics that the more legitimate and vivifying effects of it may be 
seen. Between these two, the spiritual and the almost cruelly 
realistic the one which implies that the more or less spiritual feeling 
in the artist's manner should be the test of his degree of excellence, 
the other ignoring everything but a painful reality there comes 
an epoch in Art in which the worship of personal beauty merely and 
sensuous enjoyment in the embodiment of Christian themes become 
antagonistic rather than productive of serious thought. Religion 
in the representations of the Venetian painters, e.g. becomes either 
a magnificent parade or a sensual poem, as distant from what it is 
on the mystic panels of the Master of Siena, breathing an ecstasy of 
adoration and depth of fervour, as was the life of the recluse of 
Camaldoli from that of the Lord of the Adriatic. 

It not being, then, in the power either of the artist or his patron 
to spread abroad idealized conceptions of the dogmas of Christianity 
and of its legendary history, and the Church finding that its pur- 
pose could be well answered by the promulgation among the general 
public of such realistic expressions of them as the artistic feeling of 
the time could readily produce, eagerly welcomed these productions. 
Nor were they less acceptable to the common people, to whom such 
literal and forcible transcripts of religious history spoke with an 
energy and interest commensurate with their powers of intellec- 
tual ajijuvi iation. Thus was put in circulation a mass of small 
subjects of religious character, in the treatment of which neither 
the mystic idealism of the early Italian schools nor the sensuous 
the classical Renaissance had any part, but interpenetrating 



8 INTRODUCTION. 

which everywhere might be seen a realism and common-life render- 
ing of all subjects sanctioned by the Church, a rendering too often, 
it must be admitted, which passed into the grotesque, the offensive, 
the absurd. 

It is important, however, that it should be borne in mind that 
underlying the realistic treatment of the scriptural and religious 
subjects by the early Northern schools were to be found the same 
legends and traditions as lay beneath the spiritual and refined 
transcripts of the more poetic schools of the South. The Life of the 
Virgin, the Passion of Christ, the acts and sufferings of the saints and 
martyrs, formed the chief topics of both schools, however diffe- 
rently they might be treated artistically. Whether, then, to under- 
stand the meaning of the frescoes of Giotto and Orcagna, or of the 
coarsely coloured wood and metal cuts of the Northern masters of 
the fifteenth century, an acquaintanceship with the devotional history 
and legends of the Middle Ages is as necessary as a knowledge of 
the heathen mythology and fable is requisite for the comprehension 
of the subjects represented on the marbles and vases of Greece and 
Etruria. But besides the knowledge of the subjects and traditions, 
that of the technical symbolism which was employed by the artist 
or of " Christian Iconography " is of essential need, or otherwise 
mediaeval Art addresses the spectator in an untranslatable tongue. 
Added therefore to the descriptions hereafter given of the prints 
comprised in the present Catalogue, some details may occasionally 
be met with in illustration of their legends and symbolism. They 
are necessarily limited, however, in amount and scope, and therefore 
for the full appreciation of such early pictorial transcripts of Christian 
Art as are here described, the student is recommended to peruse the 
following and analogous works 

DIDKON, M. " Christian Iconography, or the History of Chris- 
tian Art in the Middle Ages." Translated by E. J. Millington, for 
Bonn's " Illustrated Library." London, 1851. 

HUSENBETH, F. C., D.D., V.G. " Emblems of Saints by which 
they are distinguished in Works of Art." Second Edition. London, 
1860. 

JAMESON, MRS. ANNA. " Sacred and Legendary Art." " Legends 
of the Madonna." " Legends of the Monastic Orders." 

JAMESON, MRS., AND LADY EASTLAKE. " The History of our Lord." 
Several issues of above works. 

WMSELY, J. E. " Iconographie Gottes und der Heiligen." 
Leipzig, 1874. 

To these may be added with profit the works of Cahier, Piper, 
Rohault de Floury, Twining, and Tyrwhitt. Many other names 
might be recorded, but the above are sufficient indications for all 
ordinary purposes. 



INTRODUCTION. 9 

Leaving the subjects and their general designs and composition 
treated of in the incunabula before us, we pass on to notice their 
technical execution. Since the religious teaching as far as Art 
was concerned of the middle and lower classes in the North could 
not be provided for by the temperas and frescoes of church and 
convent walls, nor by the illuminations and miniatures of costly 
manuscripts, and as the sculpture and symbols of ecclesiastical 
buildings could have with these classes but a limited influence, it 
was left to be effected by the dissemination of small and cheaply 
producible pictures, image-prints, or " Helgen." These were 
mainly indebted for their production to the gradually developing 
process of engraving in various methods, on wood blocks and metal 
plates. That in this new executive branch of Art good designers 
and fair draughtsmen, as also excellent technical workmen, were 
engaged during at least the second half of the fifteenth century, those 
persons who are acquainted with early German and Flemish Art 
must be well aware. The Masters of 1464, of 1466, Martin Schon- 
gauer, Franz von Bocholt, Michael Wohlgemuth, Lukas van Leyden, 
and others, will at once occur to them. They will recall too the 
" Apocalypse " of Albert Diirer not to mention anything else 
as showing what could be effected during the latter portion of the 
fifteenth century as regards both design and technical execution 
on wood. 

Even if we do not take cognizance of these Masters, but 
regard those only whose names and exact residences are unknown, 
as e.g. the authors of the first edition of the " Ars Moriendi," 
of the " Biblia Pauperum Prsedicatorium," of the " Canticum 
Canticorum," of the " Figured Alphabet/' and of other works 
afterwards described or alluded to all works having their origin 
probably during the first half of the fifteenth century we are 
justified in our previous statement as to the capabilities of certain 
of the designers and engravers of the time. In some of the 
works of the Masters who have been mentioned there is either a 
sublimity of thought, a grace, or a refinement combined with 
technical execution which have not been surpassed to the present 
day. Nevertheless, it must be readily admitted that ideality, re- 
finement of design, goodness of drawing and equivalent technical 
execution were not the usual characteristics of that time. The 
artists employed were of inferior capacity, often in fact moro crafta- 
men than artists in all departments, though seemingly well suited to 
certain requisitions of their age. They produced quickly, abun- 
dantly, and cheaply pictorial conceptions which appealed to and held 
firmly the religious feelings of the people at large. Their technical 
execution was of a very formal kind, often both bad in itself and 
ni.-ulo worse by gratuitous negligence, and this added to the meagre- 



10 INTRODUCTION. 

ness of the forms in the designs, served to bestow on these early re- 
cords of the engraver's art an archaic and rude character. Such 
records could not be justly stated, by any means, to represent the 
whole circle of the engraver's power of the time, though they might 
serve as its popular representatives. 

In addition to these drawbacks, the aids to print off the im- 
pressions were of the most primitive kind, and to attract the attention 
and please the taste of the class for which these prints were chiefly 
intended the latter were generally coloured, but in a crude and 
careless way, and had frequently spread over them a gummy varnish 
which, while it tended perhaps to fix the more fugitive tints 
employed, served also as an additional attraction. Yet there was 
more than this intended to be expressed in the colouring of these 
early prints, for in some instances a regular system was adopted in 
its execution, since different local schools of Northern Art followed 
distinct systems, and so steadfastly adhered to them as to permit of 
their use in modern times in determining the probable places where 
such coloured prints were produced. 

Some peculiar features of certain of our early cuts (Division 3, C) 
arose from the circumstance that the original engravings from 
which the impressions have been obtained were executed in relief 
on metal plates, instead of on wood blocks. The results hence 
arising will be afterwards noticed. 

A marked trait in the records herein given of early German 
prints, is that which relates to the number of impressions which have 
been printed from metal plates engraved in the style known as the 
maniere criblee, or " large dotted manner." Perhaps there are not 
any more strange looking productions than these in the whole range 
of engravings. Some of them were worked off from plates never 
intended by their authors to be printed from. Hence here every- 
thing is en rebours, or in reverse ; that, e.g. which is naturally a 
right-handed action becomes in the impression a left-handed one, 
and vice versa, while all inscriptions appear as if written backwards. 
Even on those impressions obtained from plates apparently pro- 
duced for being printed from, the admixture of various technical 
processes, such as intagliate and relief engraving, punch and rou- 
lette work, scraping, fraying, and point technic, on the original and 
same plates, has stamped an individuality and character as outre 
as they are remarkable. 

Finally, and still in reference to this portion of the subject, it may 
be observed that the engraver followed occasionally an opposite 
method to that generally adopted for producing the necessary effects 
on the original metals. Thus, on the impressions being worked off, 
the lights on the metals became darks on the impressions, and the 
darks appeared lights if the plates were inked and cleaned in the 



INTRODUCTION. \\ 

ordinary manner. In other instances plates engraved after the usual 
methods were yet inked and worked off in such exceptional ways 
as to give rise to impressions very puzzling in their character. 

The examples of early Art described in the following pages have 
been arranged under five heads viz. Divisions A, B, C, D, and E. 

Under Division A are included three interesting illustrations of 
engraving in intaglio, not well arrangeable elsewhere, and each 
example having a special interest of its own. 

Under Division B are contained impressions from metal plates 
engraved in the maniere criblee, or " large dotted manner." 

Under Division C may be found described impressions from 
metal plates engraved in relief, as in the manner of wood engraving. 

Under Division D are placed ordinary woodcuts. 

Under Division E have been described some illustrations of ex- 
ceptional and peculiar methods of engraving the original plates and 
blocks, and of exceptional ways of producing impressions from 
original plates and blocks which have been themselves engraved in 
an ordinary manner. 

In the arrangement of the several items which come under these 
divisions the following sequence has been adopted, viz. 

Subjects connected with Old Testament History are placed first. 

Secondly come those illustrative of New Testament History. 
The Life and Passion of Christ have here the first place. 

Archangels, angels, and other heavenly personages follow. 

The Blessed Virgin comes next, and then in a regular sequence, 
according to name and sex, follow the Evangelists, the Saints and 
Martyrs of the Church, other holy persons, pious subjects, profane 
subjects, &c. 




DIVISION A. 

SPECIAL INCUNABULA, 



CORONA LUCIS OF AIX-LA-CHAPELLE. 




A. i. a. 

SERIES of sixteen impressions from engraved Copper-Plates, 
forming parts of a " Corona Lucia " in the Cathedral of Aix-la- 
Chapelle. 




LATTER THIRD OF THE TWELFTH CENTURY. 
NORTHERN GERMANY. 

A. I. b. 

ER Kronleuchter Kaisers Friedrich Barbarossa im Karolingisclien 
Miinstcr zu Aachen und die formverwandten Lichterkronen zu Ilil- 
dt-lirim und Cotnburg, nebst 2O erkliirenden Holzschnitten und 16 
von den Original-Kupferplatten des Aachener Kronleuchters abge- 

zogenen Darstellungen beschrieben von Dr. Fr. Bock, Ehren-Stiftsherrn, etc. etc. 

Aachen, 1863. Folio. 

The series of prints now to be described are bound in A. l. a, as a folio 
volume, and is preceded by a printed description taken apparently from a book 
or sale catalogue. 

PLATE I. 

CHRIST A8 -AVIOIR OF THE WORLD. 

,ITIII\ a circle of 7i inches in diameter, and having an inner 
l.nnler |ths of an inch wide, is a design representing our Lord as 
Saviour of the world. He is seated on an upper rainbow and rest* 
His feet upon a lower one. He is clad in a bordered toga-like mantle, 
drawn tightly in round the waist. A cruciform nimbus encircles the bead, tin- 
bur of which divided along the middle falls down in curls upon the houldrr.s. 
A -ii.Tt heard is on the face. Oitr Lord holds in the right hand' an open book, 
and in the left 1 a globe. . Above the globe and beside ( hri-t's head is the Greek 




' It iuu>t In- burin- iii mind tlmt the rrrrmr i>> the case in the original metal 
plate from wliicli the impression has been taken. 



16 SPECIAL INCUNABULA. 

Alpha surmounted by a cross, and above the book on the other side is the Omega, 
with a like addition. Laterally by the book and globe kneels an angel with 
circular nimbus, looking up to Christ as if in intercession, and raising the hands 
covered with drapery. All these parts of the composition are contained within a 
large quatrefoil. Within the spandrels of the latter are the symbols of the four 
Evangelists : St. John and St. Matthew above, St. Luke and St. Mark below. 
The border is decorated with a series of lanceolate serrated leaves running 
obliquely. 

In the other issue by Dr. Bock (A. 1. b), of impressions from the original 
plates, and which will be alluded to more particularly afterwards, this design, 
No. 1, is placed as No. 8, and is commented on by the learned writer as 
follows 

" The eighth and last of these metal discs exhibits the concluding act of the 
Redemption, and also the close of Creation, in other words, reward and punishment 
at the end of time. It is the figurative conception of that moment when the 
Lord as Judge and Recompenser returns a second time. Old chronicles and 
inventories term this representation (so frequently occurring in the middle ages) 
of et ilerwn centurus est cum gloria, commonly ' majestas domini.' We are not 
of the opinion of our learned predecessor, the Abbe Cahier, who assumes that 
Christ is here represented as Lawgiver and Teacher (Christus legislator). It is 
probable that this assumption is based on the circumstance that the Saviour under 
similar circumstances frequently holds with the left hand an open book, bearing the 
inscription ' ego sum lux iniindi.' We reply, on the other hand, that just as often 
Christ in his glory termed also thronus domini by old authors may be found on 
mediaeval monuments with the open book of life, on which may be read distinctly 
the words liber vita, by which the coming of the Saviour to reward and punish 
is clearly indicated. The circumstance of Christ being seated on the rainbow, 
and the presence around him of the four creature-symbols of the Evangelists, 
harmonize with this idea. In unison also with this view may be read by the head 
of the Lord the Alpha and Omega, indicating that Christ includes within himself 
the source of all being, the principi urn finis of all things. Ministering angels with 
veiled hands surround the Judge of the World, who holds in the right hand the 
open book of life, and in the left the terrestrial orb " (p. 1 o). 

In reference to the creature-symbols of the Evangelists, Mr. Tyrwhitt observes, 
" the adoption of the four creatures of the Apocalypse (ch. iv. v. 6) as images of the 
Evangelists does not seem to have taken place generally, or is not recorded on 
Christian monuments before the fifth century. It involves of course the peculiarly 
impressive connection between the beginning of the visions of Ezekiel, and the 
first sight of the unveiling of Heaven to the eyes of St. John." . . . . " Nor 
was it till long after the four creatures had been taken as prefiguring the four 
Evangelists, that a special application was made of each symbol to each writer. 
St. Matthew has the Man, as beginning his gospel with the Lord's human 
genealogy ; St. Mark the Lion, as testifying the Lord's royal dignity, or as con- 
taining the terrible condemnation of unbelievers at the end of his gospel ; St. 
Luke the Ox, as he dwells on the Priesthood and Sacrifice of Christ; St. John 

the Eagle, &n contemplating the Lord's Divine Nature An ivory diptych 

of the fifth century is the earliest known representation of this emblem." (" The 
Art Teaching of the Primitive Church," by the Rev. R. St. John Tyrwhitt, M.A., 
P- 332.) 

The same writer remarks concerning the Alpha and Omega : " Of these symbolic 
letters the w is always given in the minuscular or small form. They are generally 
appended to the monogram of Christ, or suspended from the arms of the < 
.... These letters are found with or without the monogram on all kinds of 
works of Christian antiquity, on sepulchral monument-, c-jii-cially those of ancient 
France ; on cups, on rings and Mgils, and on coins immediately after the death of 
Constantine. Their use amounts to a quotation of Revelation xxii. 13, [ego 



CORONA LUCIS OF AIX-LA- CHAPELLE. 17 

sum a et w, primus et novissimns, principium et finis], 1 and a confession of faith 
in our Lord's assertion of His own Infinity and Divinity." . . . . " No doubt the 
symbol was more common after the outbreak of Arianism, but it seems pretty 
clear from the above-mentioned cup in Boldetti and from the inscription by 
Victorina to her martyred husband Heraclius, that it was used before the first 
Nicene Council. It will be found in the Psalter of Athelstan and in the Bible 
of Alcuin, both in the British Museum." (Op. cit. p. 307.) 



PLATE 2. 

THE ANGEUC SALUTATION. 



3E design is contained within a circle of 7 inches in diameter, having 
an inner border nearly ths of an inch wide, the ornamentation of 
which is different to that in Plate 1 . On the right stands the Angel 
of the Annunciation, saluting the Virgin with " Ave Maria," which is 
inscribed on the scroll he holds in the right hand, while the left hand is raised as 
it' in the act of benediction. A circular nimbus is around the head of the Angel 
Gabriel and large wings are on his back. On the left stands the Blessed 
Virgin with raised hands and head slightly inclined towards the Angel, as if 
answering to his announcement " fiat mihi secundum verbum tmun." On the 
left of the Virgin is part of a building, while both figures stand as if on a flowery 
bank. 

" This mode of artistic conception and representation was the universally 
accepted one in Oriental Christendom during the 1 2th and 1 3th centuries. It 
was not until the 14th century that the practice arose of either putting the lily 
in the right hand of the Angel of the Annunciation, or of placing it in a flower 
vase, in reference to the well-known saying of the prophet Isaiah, xi. 1 [et 
egredietur virga de radice Jesse et flos de radice eius asceudet]." (Bock, op. cit. 

P-9-) 

" In the early representations of the Annunciation .... the Virgin stands; 
(she is very seldom seated, and then on a kind of raised throne), the Angel stands 
before her at some distance, .... in the Greek pictures the Angel and the Virgin 
both stand .... but from the beginning of the fourteenth century she becomes not 
merely the principal person, but the superior being ; she is the * Regina Ange- 
loruui,' and the Angel bows to her or kneels before her as to a queen." (Mrs. 
Jameson, "Sacred and Legendary Art," p. 71, ed. 1850.) 



PLATE 3. 

^THB KATIVITT. 

|IIE design is contained within a circle 7f inches in diameter, having 
:m inner border nearly :ui inch wide, and of different ornamentation to 
that of the borders in 1 and 2. In the foreground reposes at length 
the Blessed Virgin, supporting her head with the l.-t't hand. A nim- 
bus is over her head, and she is swathed in bed-clothes. At her t'eet on the left 
hand kneels Joseph with uncovered head, and pointing with the index finger of 

1 In Latin quotations from the Bible in this work the Vulgate i always 

'I tO. 

C 




18 SPECIAL INCUNABULA. 

the left hand towards the infant Saviour, who, lying swathed in a manger above 
His mother's bed, looks over at her as if with curiosity. The Virgin looks up at 
her Divine Child as it were in anxious inquiry. Above the manger appear the 
heads of an Ox and an Ass, the expression in which seems to warrant the state- 
ment of the old Christmas Carol 

" Agnovit bos et asinus 
Quod Puer erat Dominus." 

Beyond the manger and animals runs a semicircular embattled wall with towers. 
" The 2nd [here the 3rd] circular medallion represents the birth of the Saviour 
in that artificial style of its apprehension which was general during the early part 
of the Middle Ages, not only in the Latin but in the Greek Church. First in 
the 1 5th century disappears from Art this old traditional representation of the 
Birth of the Lord, which is repeated in a naively pious manner on Plate 2 [3]. 
The sublime moment of the Nativity was from that time represented both in 
painting and in sculpture as it is embodied in the words, ' quern genuit adoravit,' 
that is to say, the ever-blessed Virgin kneels as Dei genitrix in adoration before 
the new-born infant Christ in the stall, and in the background the holy Joseph 
along with a troop of ministering Angels complete the group." (Bock, op. cit. p. 9.) 



PLATE 4. 

/THE ADORATION OF THE MAGI OR THREE KINGS. 

[IE design is within a circle 7| inches in diameter, having an orna- 
mental border fths of an inch wide. On the left sits the Virgin 
Mother stiflly upright, supporting with the right hand the infant 
Saviour, who stands erect on His mother's right knee. A plain cir- 
cular nimbus is around the head of the Virgin, a cruciform nimbus over the head 
of her Son. The Holy Mother raises her left hand, at the wrist of which the 
tunic is exposed, as the forearm protrudes from a large loose and bordered sleeve. 
The infant Saviour blesses in the manner of the Latin Church with the left hand, 
and holds in the right what appears like a small scroll. On the right the three 
Magi crowned as kings Melchior, Caspar, and Bulthasar kneel, each on one 
knee, and present their gifts. Caspar, of whom all the figure is visible, has a full 
beard, Melchior is but slightly bearded, while so much of Balthasar's face as can 
be seen appears to indicate he would be beardless. Above and between the 
Virgin and the Magi appears an eight-rayed star, " et ecce Stella, quam viderant 
in oriente, antecedebat eos usquedum veniens staret supra, ubi erat puer." (Matth : 
ii. 9.) 

" Reges Tharsis, et insulse munera efferent : reges Arabum et Saba dona 
adducent." (Psalmus Ixxi. 1O.) 

"The names of the three kings appear for the first time in a piece of rude 
sculpture over the door of Sant' Andrea at Pistoia, to which is assigned the date 

1 166 In the legends of the 14th century the kings had become dis- 

tin.t personages under the names of Caspar, Melchior, and Baltha-ar. tin- first 
being always a very aged man with a long white beard, the second a middle- 
man, the third is young, and frequently he is a Moor or negro, to express the 

King of Ethiopia or Nubia The difference of ages is indicated in the 

Greek formula." (" Legends of the Madonna," p. 233.) 





CORONA LUCIS OF AIX-LA-CHAPELLE. iy 

PLATE 5. 

CHRIST ON THE CROSS. 

'HE circle of the medallion is 7^ inches in diameter; the inner and 
ornamental border fths of an inch wide. Within is represented "the 
Crucifixion of the Lord, and in that hieratic and confirmed manner 
which as inclining to old Byzantine models was generally followed 
I'm- several centuries in the Latin Church. The Redeemer is as if standing on a 
' suppedaneuni,' in the act of blessing; the loins are girded with a ' perizonium' 
of many folds. Above the two transverse limbs of the Cross do not fail to appear 
the allegoric half-figures, representing the Sun and Moon sorrowfully veiling their 
faces, borrowed from old Greek Art. John and Mary also stand as a sorrowing 
group by the Cross, yet in our design the beloved disciple is conceived and repre- 
sented as a bearded man, and not as beardless and of youthful age, as he is fre- 
quently in similar representations since the 14th and 1 5th centuries." (Bock, 
op. cit. p. 1O.) 

Lady Eastlake has observed that " the Crucifixion ia too vast a theme to be 
rendered with any prominence of the principal idea in one picture. From the 
earliest times therefore Art laid down the principle of selection, while the faith 
of the period dictated in what it was to consist and the Art traditions of the time 
how it was to be expressed. We see, therefore, the darkness over the whole 
land symbolized by the classic images of the Sun and Moon the hiding of the 
greater planet having of course affected the lesser on each side above the Cross. 
The one, Sol, with rays, the other, Luna, with the crescent .... each with the 
right hand to the cheek, an antique sign of affliction." (" History of our Lord," 
vol. ii. p. 143.) 

" From the sixth century down to the fifteenth the figure of the Crucified is 
successively divested of every kind of drapery until reduced to a state of almost 

complete nudity In the eleventh and twelfth centuries the robe becomes 

shorter, the sleeves disappear, and the breast is already uncovered in some in- 
stances, the robe being scarcely more than a kind of tunic. In the thirteenth 
century the tunic is as short as possible, in the fourteenth it is nothing more than 
a piece of stuff, or rather linen rolled round the loins, and up to the present 
time the figure of Christ upon the Cross has been constantly thus represented." 
(Didron, op. cit. p. 260.) 

PLATE 6. 

THE HOLT WOMEN AT THE SEPULCHRE. 

HTHIN a bordered circle of like dimensions to those of No. 5, we 
represented the three Maries at tin- Sepulchre of the Lord. On the 
r..\er which is placed obliquely across the tomb, sits the angel with u 

staff of fleurs-de-lis in tin- right hand and making a gesture with the 

left, us lie iM-nd.s slightly toward- the Holy Women opposite, aa if My ing, " non 
:: sun-exit, sieut di.\it. Yenite et videte locum ubi positus erat Dominus." 
(Maltli : xxviii. 6.) 

The lleiir-de-lis ia the attribute of the angel Gabriel, who, having ton-told 
the liirth of the Redeemer, is considered to have I.een the unnouncer of Ilia Reaur- 
rertion. On the ri-ht hand approach with anxious .oimteiianees the three II | 
Women with cups of spices "portantea qua? paraveraot aromaU." (I 
xxiv. I.) 




20 SPECIAL INCUNABULA. 

It is noteworthy that the Resurrection is not represented in the present 
sequence, a circumstance in conformity with the practice of early Christian Art ; 
hut the immediate subject, as Lady Eastlake remarks " the Three Maries at the 
Sepulchre, or as the Greek Church terms them, le trois Myrrhophores, from 
the spices and inyrrh they carried, are as invariable in Christian as the Three 
Graces or Fates are in Pagan Art." (' History of our Lord," vol. ii. p. 273.) 

" This subject which served, as we have remarked, as a representation of the 
Resurrection was on that account an unfailing incident in the brief series of the 
Passion during the centuries which preceded Giotto, when having fulfilled its 
purpose it yielded the place to the actual scene of the rising of Christ, and retired 
in great measure from the domain of Art." (Op. cit. p. 272.) 

"This arrangement continues to the time of Giotto, and is seen perpetually 
repeated in the form of ivories and small miniatures. But the Angel sits on an 
<>l>cn tomb, and by a fine action observable in many representations of this scene, 
points across himself into it ' See where the Lord lay.' 

" \\itli tin* U'ginning of the fourteenth century this subject, like all others 
in Christian Art, underwent a change. . . . From this time the Women at the 
Sepulchre is a subject seldom seen in the higher forms of Art, and when it appears 
it bears that theatrical impress common to all these subjects from the sixteenth 
century." (Op. cit. p. 276.) 



PLATE 7. 

v THE ASCENSION. 

'HE diameter of the circle of the medallion is 7|- inches, and the width 
of the floriated border ths of an inch. " The 6th [?th here] 
medallion represents the ascension of our Lord from the Mount of 
Olives surrounded by his sorrowing disciples. The artist here seized 
the moment of the ascensio domini, when the Saviour on the Mount of Olives with 
the banner of the Re-urn-i tion in his ri^ht hand as a Sag of victory, raises his eyes 
towards Heaven and the clouds receive him. The hand of the Father in benedic- 
tion, the recognized symbol for the first person of the Godhead, projects from the 
clouds. This old manner of representing the ascension of Christ also recalls the 
Greek types, and completely deviates from the conception and reproductions of 
the artists of the fifteenth century, where the feet only of the ascending Saviour 
project from the cloud of light, and the impressions of which as evidence of 
his Ascension are yet visible on the Mount of Olives. Attention may be drawn 
en passant to the markedly conventional manner in which the clouds are repre- 
sented, as also to the ideal treatment of the foliage, which, after the old types, is 
trrati-tl purely as ornament in settled conventional form, and not in a natural 
manner as during the Gothic Art period." (Bock, op. cit. p. 1O.) 

On the symbol of the first person of the Trinity as here represented, 
Mr. Tyrwhitt writes : " For the first centuries at least no attempt was even 
made at representing the actual presence of the first person of the Trinity. It 
was indicated invariably by the symbolic hand proceediiiLT t'n.m a cloud. 
Mart igny quotes the words of St. Augustine, Epist. cxlviii. 4 : ' \Vlicn we licur of 
hU Hand we ought to understand his working,* from which it would seem tliat 
the great Western Father foresaw a tendency to anthropomorphic misapplication 
of the words, Hand and Eye, or Ear of God, as they an frequently used in the 
Old Testament." (Op. cit. p. 343.) 





CORONA LUCIS OF A1X-LA-CHAPELLE. 21 

PLATE 8. 

/THE DESCENT OF THE HOLT SPIRIT. 

'II!'. lust of the designs within a circle. The latter is 7|- inches in 
diameter with an ornamented bonier |ths of an inch wide. 

" The disciples are associated together in sitting attitudes, and the 
Holy Ghost in the form of a dove descends upon them. The modern 
way of representing flames over the heads of the Apostles is not yet had recourse 
tn here, but from the nimbus of the Holy Spirit proceed rays which descend 
upon the head of each one present. Here also, deviating from later representa- 
tions, the Twelve only are visible, the Blessed Virgin and Mother of our Lord not 
continuing in their midst." (Bock, op. cit. p. 1O.) 

In connection with this absence of the Virgin on the Pentecost, Mrs. Jameson 
observes, " The Descent of the Holy Ghost is a strictly scriptural subject. I have 
heard it said, that the introduction of Mary is not authorized by the scripture 
narrative. I must observe, however, that without any wringing of the text for 
an especial purpose, the passage might be so interpreted. In the first chapter of 
the Acts (verse 14), after enumerating the Apostles by name, it is added : ' These 
all continued with one accord in prayer and supplication with the Women and 
Mary the Mother of Jesus, and with His brethren.' And in the commencement 
of t lie second chapter the narrative thus proceeds : 'And when the day of Pente- 
cost was fully come, they were all with one accord in one place.' The word all 
is, in the Concordance, referred to the previous text (verse 14), as including Mary 
and tlu> Women ; thus they who were constant in their love were not refused a 
participation in the gifts of the Spirit." (" Legends of the Madonna," p. 325.) 

If the true source of the ability of the Christian or believer to enter the 
Heavenly Jerusalem typified, as will be shown presently, in the Corona Lucis 
after the completion of his course on earth in to be found in the Life and Passion 
of the Redeemer, as represented in several of their phases on the eight medallions 
just described, so do the compositions on the eight following copper-plates of the 
towers of the corona remind the observer that not Faith alone in the works 
of ( 'lirist and his merits will open to the Christian the door of the Heavenly 
Ziiin : lint that therewith he must practice the Works of Faith and Love if lie 
would enter the Eternal City, the semblance of which is represented in the lumi- 
nary, some adornments of which are now being described. In conformity there- 
with the Cliurch's teaching the artist has supplied the Works of Faith as 
they are expressed in the eight Beatitudes of the Sermon on the Mount 



PLATE 9. 

^/THB FOUBTH BEATlTtM . 

II K design ia contained within a quadrangular space 6J- inches 
by 6^ inches wide. This square is placed over a quatrefoil. the 
lunettes of which project two inches l.e\ond the upper and lower 
_ sides of the square, and l''ths of an inch lievotid its lateral ma 
The angles nf the central square prnjei-t aliout an inch between the convexities 
of the lunettes of the quatrefoil. Both square and quatrefoil have ornamcnt.il 
borders ' ths of an inch wide. 

In the middle of the quadrangle stands a male figure with nimbus and toga- 





22 SPECIAL INCUNABULA. 

like mantle, supporting with both hands a large tablet, which runs horizontally 
across the centre of the square. On this tablet is inscribed (in reverse) 

BBATI . QV . E8URIVN . J. 
BICIVN . IVSTICli . Q . I . 8. 

(i. e. " Beati qui esuriunt et sitiunt justitiam : quoniam ipsi saturabuntnr. 1 ' 
(Matth: v. 6.) 

'I'll-- figure has the right foot overstepping the border of the quadrangle, and 
on each side a group of men and women regarding him with attention. In the 
upper lunette is a large eagle perhaps meant as a symbol of justice. In the 
lateral lunettes are symbols, apparently of the sun and moon. In the lower 
lunette is a floriated ornament. 



PLATE 10. 

THE EIGHTH BEATITUDE. 

FIE design is contained within a quatrefoil 1O inches wide each way. 
Between the lunettes project sharp angles. A floriated border tl 
of an inch wide runs within the margin of the quatrefoil. In the 
middle stands a male figure with nimbus and bordered toga-like 
drapery, supporting with both hands a tablet l|ths of an inch wide, which runs 
horizontally across the middle of the quatrefoil. On this tablet is inscribed 

BE ATI . QVI . PBB8ECVTIONB . PATI 
VNTVB . ITT . IV8TICIAM . Q . I . K . K. C. 

(i. e. " Beati qui persecutionem patiuntur propter justitiam : quoniam ipsorum 
eat regnum coelorum.") 

The ground of the design is diapered with bands of ornamental squares run- 
ning horizontally and perpendicularly. The small engraved squares alternate 
with plain ones corresponding to the places where the original metal plate u 
percfe a ''our. 



PLATE II. 

THE SECOND 1 BEATITUDE. 

JITIIIN an oval-shaped quatrefoil 1OJ- inches high by 9j- inches wide, 
having an ornamental border, is an upright oval band or aureole, with 
acuminated ends resting against the convexities of circular ornaments 
projecting from the borders of the upper and lower lunettes. Within 

this oval stand* a male figure with nimbus and toga-like mantle. He bears in his 

liiiinlj- a short but broad tablet, on which is inscribed 

BEATI . MITES . 

Q = M . IPSI . P088 
IDEB - T . TEKRAM. 

(i. e. " Beati mites : quoniam ipsi possidebunt terram.") 
On each aide of the centre figure, and between the outer margins of the 
acuminate oval and the bands of the lateral lunettes, is a group of attentive and 



According to the Vulgate. 




CORONA LUC IS OF AIX-LA-CHAPELLE. 23 

expressive figures. The ground of the composition i made up of radiating and 
interlacing narrow bands, which alternate with large white spaced corresponding 
to the localities where the original metal plate is percee a jour. 



PLATE 12. 

THE SEVENTH BEATITUDE. 




ITHIX a quadrangle Qj- inches high by 7^ inches wide stands a male 
figure with nimbus and toga, holding a long tablet 1 1- inches wide, 
! running transversely across the middle of the design. On this tablet 
is inscribed in late Roman choral letters 



BBATI . PACiriCI . QVOIUAM . 
F1LII . DEI . VOCABVNTVB. 




The general ground is composed of upright and transverse floriated bands 
interlacing with each other, and having rows of white squares corresponding to 
the places where the original copper plate is percee d jour. The centre figure is 
of expressive and graceful character, the drawing with the exception of the toea 
and fiugere good, and the drapery is well cast. 



PLATE 13. 

THE nPTH BEATITUDE. 

'HE design is included within a quadrangle 9 J inches high by 8 J inches 
wide. 

In the centre stands a male figure clad in toga and tunic, bearing 
in his hands a curved tablet an inch and f ths wide. The convexity 
of the tablet u downwards, and the latter bears on it the inscription 

BEATI . MISEBICORDES QVO 
IP8I . Ml- 1)1 \M CONSEQNT. 

(i. e. " Beat! misericordes : quoniam ipsi misericordiam consequentur.") 
The ground of this print is formed of perpendicular and horizontal bands 
|tbs of an inch wide, and of a highly ornamental enfloriated character. The 
horizontal or transverse bands are laid over the upright series. Between the 
bands are alternating white squares, the results in the impression of the original 
plate being percee a jour. 



PLATE 14. 

THE FIRST BEATITUDE. 

IT 1 1 1\ a quadrangular space 9% inches high by 8 J- inches wide, having 
a floriated massive border nearly an inch and Jths wide, stands a male 
Ill-lire with nimbus, toga and tunir. lit- supports with both hand* 
a curved scroll an inch and |lha wide. On it arc the words 

BEATI . PAVPKBE8 . 
SPIRITV. 

Across the background of the design run four tranavprup floriated bands an 
inch wide, and two upright hands |ths of an inch in width, marked only with 




24 SPECIAL INCUNABULA. 

a single series of cross hatchings. Between these bands are large white spaces 
due to the original copper plate being percee a jour. 

On the borders, of the tunic and toga-like drapery, which is copious and well 
cast, jewelled ornaments are indicated. 




PLATE 15. 

THE THIRD 1 BEATITUDE. 

a quatrefoil, included in a square space gf inches high by 
8|- inches wide, and having a floriated border ths of an inch in width, 
sits a male figure with nimbus and toga-like vesture. He supports 
with both hands a curved scroll, the convexity of which rests upon 
his right knee. On this scroll are inscribed the words 

BEATI . QVI . LVGEST . Q = M . 
IP8I . CSOLABVT. 

(i.e. "Beat! qui lugent : quoniam ipsi consolabuntur.") 

The quatrefoil containing the figure has an ornamented border half an inch 
wide. At the four corners of the quadrangle, between the outer angles of the 
lunettes and the inner angles of the former, are groups of humble praying figures 
looking intently towards the central form. The groundwork within the quatre- 
foil is composed of curved and narrow intersecting bands ; that between it and 
the border of the great square has oblique bands passing like rays from the 
outer edge of the lunettes to the heads or bodies of the kneeling figures in the 
angles. Between these bands are variously shaped white spaces answering to 
where the original metal plate is percee a jour. 




PLATE 1 6. 

THE SIXTH BEATITUDE. 

'HE design is contained within a quatrefoil 1OJ- inches high by a little 
less than 1O inches broad, having a floriated border ths of an inch 
wide. In the middle stands a male figure with nimbus and toga-like 
drapery, holding with both hands a scroll, which runs transversely 
across the middle of the composition. On this scroll are the words 

BEATI . MVNDO . CORDI. 
QOHIAM . IP8I . I' M . VIDEBVNT. 

The ground within the qnatrefoil is composed of a series of arabesquely 
ornamented transverse bands ^ an inch wide, placed across a series of upright 
bands, between which are rows of white squares corresponding to where the 
original copper-plate is percte a jour. The central figure is well drawn, expressive, 
and has the drapery well cast. 

The series of prints which has been here described is full of interest. It 
represents, as far as we are aware, a sequence of impressions from the oldest 
engraved copper-plates which have as yet been printed from. 7 

On the bases of the sixteen ornamental towers of the "Corona luminaria" 
presented by Frederick Barbarossa to the Cathedral of Aix-la-Chapclle circa tin- 
years 1 165-70, are plates of copper on which have born inta^liatcd, or engraved 

' According to the Vulgate. 

- With one limited exception, for which see Appendix. 



CORONA LUC IS OF AIX-LA-CHAPELLE. 25 

it may be truly said, scenes from the Life of Christ, and illustrations from the first 
p. rtion of the Sermon on the Mount. These sixteen intagliated plates are 
I'a-teued with small screws only to the towers of the corona, and may be separated 
from them easily. About twenty-five years back the corona was taken down for 
necessary repairs and cleaning. Permission was given at the same time to work 
off a limited number of impressions from these engraved plates. A few years 
afterwards Dr. Bock, honorary canon of the cathedral, and a well-known writer 
on ecclesiastical archaeology, was allowed to have some impressions printed off to 
accompany his interesting monograph (A. 1. b), entitled "Der Kronleuchter 
Kaisers Friedrieh Barbarossa im Karolingischen Minister zu Aachen, etc.," von 
Dr. Fr. Bock, Ehren-Stiftsherrn, etc. Aachen, 1 863, folio. 

The series of impressions which has been here immediately described is the 
first which was worked off viz. A. l.a. It IB accompanied by a very short 
description only of the origin and subject matter of the plates, apparently taken 
from a book or sale catalogue. The first paragraph of this summary is as follows 

" The impressions cursorily described under the following sixteen numbers 
belong to the most ancient memorials of the art of copper-plate engraving. They 
have been printed off from the original engraved metal plates belonging to the 
great and famous ' Crown luminary ' in the Cathedral at Aachen, which Frederick 
the First and his consort presented to it about the year 1 165. On the occasion 
of the cleaning and reparation of this Crown luminary a few years back, a limited 
number of impressions were carefully worked off from certain parts of it. These 
impressions belong to the greatest and most remarkable rarities, and all the more 
so since a reprinting of them now that the Corona has been restored and put 
together again is not to be thought of." Schnaase (B. 5, S. 787) has fully 
described the latter as " one of the most important of old metal works, and par- 
ticularly interesting from the symbolism pervading it." Then follows a very 
concise description of the subjects of the sixteen impressions in question. 

The other and somewhat later edition of these prints is contained in A. 1. b, 
at the head of this article. Accompanying it is an interesting historic and 
archaeological account of the origin and character of crown luminaries in general, 
and in particular of the Corona luminuria of Abbot Ilertwig, in the quadrangle 
of a former Benedictine Abbey Church of Comburg, near Schwiibisch-IIall, and of 
the crown luminary of Bishop Hezilo in the nave of the Cathedral at Hildesheim, 
in addition to that of the Cathedral at Aix-la-Chapelle. 

Besides a minute description of the designs and tcclmic connected with the 
copper discs at the bases of the ornamental towers, Dr. Bock gives one also of 
other portions of the luminary at Aix-la-Chapelle, and in particular of the inscrip- 
ti< us en- raved on the wreath-like bands connecting the towers with each other. 
In relation to the present subject the following work also may be consulted with 
advantage, vix: " (ic.-chichte der Bildenden Kiin-tc im M ittelalter." Von Dr. 
>chnaase. Dritter Band, S. 787. (Diisseldorf, 1855.) 

When about the sixth and seventh centuries it became customary to suspend 

crosses surmounted by votive crowns from the vaulted ceilings over the chief 

altar- in large churches, crosses serving the purpose of chandeliers or light bearers 

also came into use, such crosses having their forms modified to enable them to 

carry on their several members a number of lamps or lights of some kind. 

As a light had always a deep symbolical meaning in the Christian Church, it 
being in many in-tan. -e- intended to represent the Saviour, who himself had naid 

Mini lux mundi" ( .Joh : viii. 12), it was usual to adorn the light bearer, han 
as a symbol of the Redeemer I .el',. re the Sanctuary, with a crown suspended above 
it. From a single light as syml.oli/ing the Redeemer, crowns with twelve lights 
on the bearer W6T6 >:-cd a- referring !<> the twehe di.-ciplp " VoS CStU lux 
mundi" (Matth: v. 14) and afterwards crown- bearing many light-, in reference 
t;> the order, " Sic luceat lux vestra coram hominibus" (Matth: v. 16). 



26 SPECIAL INCUNABULA. 

Such crowns of light corona luminaria, coronce lucis, phari, gabathce pre- 
sented aa votive offerings to the large churches, assumed various forms according 
to the times, but all symbolized with more or less depth of mysticism some dogma 
of the Christian Church. 

Between the years 1 1 65 and 1 1 70, Frederick Barbarossa and his consort 
Beatrix presented a magni6cent votive corona lucis to the Cathedral of Aix-la- 
Chapelle. 

" On what particular occasion did Frederick Barbarossa feel himself called on 
to present the Cathedral tomb of his great ancestor with this token of imperial 
favour ? Two circumstances there were which might have offered an opportunity 
for thus bestowing on the Church of the Coronation such a prominent gift. For 
instance, the Hohenstaufer in question immediately after his coronation as Roman 
King in the year 1 152, solemnized over the grave of Charles the Great, may have 
vowed that present in remembrance of the then just completed historic develop- 
ment of the status of the Blessed Virgin ; or rather, and which is the more probable, 
the votive gift in question may have followed the occasion when the grave's rest 
of the Christian Imperial hero Charles was again broken by Frederick the First 
on the 29th of December, 1 165, and his earthly remains solemnly raised after the 
opening of the tumulus. In fact, our meritorious Quix (' Chr. Quix, Geschichte 
der Studt Aachen, 1 Theil, Seite 65. Aachen, 1 840 '), following a statement by 
Ernst (' Hist, de Limburg,' torn. iii. p. 136), relates that after the opening of 
the grave in the presence of numerous Bishops, Princes, Dukes, and other digni- 
taries of the kingdom, the Emperor in everlasting remembrance of this important 
exposition of the ashes of the holy Emperor, had this splendid light bearer prepared. 
Thus the commencement and completion of the Imperial votive crown would fall 
somewhere between the years 1 166-1 1 70, a period of time with which the richly 
developed ornamentation of the corona is thoroughly in keeping." (Bock, op. cit. 

PR. 34, 35-) 

The character and importance of this princely gift of Barbarossa cannot be 
better illustrated than by placing before the reader the following extract from the 
monograph of Dr. Bock, previous to doing which, however, some notice of M. 
Didron's reflections may not be out of place. The latter observes: "In the 
hymn composed in honour of the Holy Spirit [' Veni Creator Spiritus'] attributed 
to Charlemagne himself, and which is sung whenever divine enlightenment is 
especially desired .... it is singular to find the warlike Charlemagne, whose life 
was one perpetual scene of warfare, who fought bloody battles in the North, South, 
and East of Europe, perhaps also in Asia and the West, thus invoking peace. 
In the centre of the cupola of the Cathedral of Aix-la-Chapelle, above the tomb 
of Charlemagne an enormous crown is suspended ; a kind of gigantic luminary of 
chiselled, gilded and enamelled copper, presented by the Emperor Frederic 
Harbarossa. The Catholic Caesar of the Romans (Caesar Catholicus Romauorum 
Fridericus), as Barbarossa styles himself in that luminary, caused the eight 
beatitudes to be engraven below eight great lamps, by which the crown is supported, 
and we are astonished to find Barbarossa exclaiming in conjunction with the 
inscriptions engraven beneath the lamps 

' Beati mites quoniam possidebunt terrain.' 
Heati PACIFICI quoniam filii Dei vocabuntur.' 

The terrible Barbarossa, albeit himself of no very pacific disposition, adds again at 
the end of an inscription of eight verses, engraven on the upper part of the 
crown, and referring to the crown itself 

'Celica Jherusalem signatur imagine tali 
Visio Pads certa quiet is spes ibi nobis.' 

Charlemagne and Barbarosna, as is here seen, both wrote and acted alike." 






CORONA LUC1S OF AIX-LA- CHAPELLE. 27 



("Christian Iconography," Bonn's " Illustrated Library," London, 1851, pp. 421- 



To revert to Dr. Bock 

" As the inscription on the Crown luminary itself clearly indicates, our 
Corona is octagonal in form, in harmony with the Karolingian octagon, the interior 
of which it serves to lighten and decorate. The eight divisions of the luminary 
do not stand out, however, in the straight lined forma of an octagon, the forms 
being modified by eight principal curves. Suppose eight smaller contiguous curves 
meeting at intersecting points, to be described within these eight chief cunres, a 
geometric figure will be produced representing in its plan an eight-leaved rose. 
In the eight notches or points of intersection of the secondary curves of the rose- 
like figure, the artist has introduced circular medallions [the eight Beatitudes], 
serving as the bases to as many small towers. In order to double the number of 
towers, the artist has further placed tower-bases at the most prominent parts of 
the arcs of the circles of the rose-like figure. The outlines of these tower-bases 
are alternately rectangular and of quatrefoil pattern .... Between the four 
rectangular bases, a ground plan as it were of a true square may be described, 
and a like second one arises when four straight lines are drawn between the inner 
lunettes of the qnatrefoil medallions. On a similar principle, eight different and 
equally large quadrangles may be produced by connecting the eight oppositely 
placed circular medallions with lines. 

" As mystical expositors have sometimes conceived the Heavenly Jerusalem as 
a rose in its outward appearance, so in a like spirit the ground form of the 
Heavenly habitation may be found in the square, that is included in so manifold 
a way as an inner principle in the eight-leaved rose. The last proposition receives 
yet further support from the circumstance that the Evangelist in his account of 
the Heavenly Jerusalem, expressly pronounces, 'et civitas in quadro posita est." 
(Apoc: xxL 16.) That the artist from whom proceeded the ingenious design of 
our crown luminary had in general before his eyes the description by the Holy 
Seer of Patmos, and sought to reproduce it, is clear from the place of the towers, 
which latter are ordered and arranged throughout by threes along the various 
lines of the numerous squares, forming the ground plan of the general design of 
the Corona. The passage in the Apocalypse referred to is as follows: 'ab 
Orient < portae tres : et ab Aquilone porta- tres : et ab Austro portte tres et ab 
occasu porta? tres' " (xxi. 13). (Bock, op. cit. pp. 7, 8.) 

As a glance at a geometric ground plan of the Crown luminary at Aix-la- 
Chapelle will show, the eight smaller towers introduced at the notches of the eight- 
leaved rose are kept circular in form, the other eight towers and their bases are 
in one half their number rectangular in plan, and in the other half quatrefoil 
in shape. Beneath the socle of each of these sixteen tower-like structures lies a 
strong plate of" red-copper," on which an engraver has intagliated with powerful 
instrument various designs. As these terminal plates which close the entrances 
below to the ornamental towers take the shape of the ground-forms of the different 
towers, it follows that in the impressions worked off from them, and now before us 
in the series of sixteen prints just described, there are eight engraved plates 
of circular form, four rectangular ones, and four medallions in the shape of 
<juat retails. On the eight smaller circular discs are engraved various scenes 
from the Life of the Saviour from the Annunciation to his return at the Last 
Day. 

" In all pn il.al.il it v," remarks Dr. Bock, "the artist who in red-copper worked 
with sure ham I these masterly plates, had the designs of a <-h-\er painter r an 
before him, after which with l>ro:id graver lie .!e\ elupeil his cnmpo-iiJDiit " (p. 9). 
. ..." It cannot he <lcni<-<l that, as regards design, arrangement, uncl :il-<< technical 
execution, these numerous compositions are equally masterly and f>r their time 
highly finished. From prolonged observation of those many life-like and vivaci- 
ously executed figures, we have not been able to arrire Iu-inn that the 



28 SPECIAL INCUNABULA. 

idea and plan of these cleverly composed representations can justly be regarded as 
the creations of a technical engraver, however gifted. On the contrary, we 
believe that the noble scheme of these numerous figurative representations pro- 
ceeded from an habile painter, one who stood at the summit of the art of his time. 
Thus might a practised and artistic copper-plate engraver intagliate with broad 
tool in the metal the models placed before him coming from the hands of a 
higher compunibt. This view of the subject does not exclude another hypo- 
thesis, which assumes that in correspondence with the typically fixed char act IT 
of painting during the Romanesque Art epoch, a talented engraver copied in 
reduced size, and transferred to copper these particular designs which he 
had come across as monumental paintings executed by an eminent master of 
his time. Although the numerous engraved figures bring to mind from their 
pose, action, and cast of their drapery the traditional Byzantine treatment, it 
must yet be allowed that close observation perceives so much freedom and move- 
ment in the dispositions of the figures, and self-conscious striving after individunli- 
zation in the characteristic heads of these saintly forms as sufficiently to indicate 
that the master in question, while undoubtedly continuing steadfast to the old 
typical figure-designs of the Art of the period, yet did so without sacrificing his 
own independence as an original artist. The casting of the draperies throughout 
is especially masterly to the ends in view: it does not degenerate either into formal 
vagary or stiffness, as it so frequently does in pictorial compositions of the same 
epoch. If the anatomic representation of individual parts leaves much to be 
desired when viewed from the present stand-point of Art, it must yet be uncon- 
ditionally allowed, thut in spite of the many hard and objectionable features of 
these intagliated compositions, an inexpressible dignity and majesty of expression 
and execution are here present, and that the spiritual element born of a deep- 
rooted faith which breaks forth from these often naive designs is so intense and 
riveting, that one willingly overlooks the many errors and imperfections of the 
school of the time." (Op. cit. pp. 14, 15.) 

From the peculiar interest this series of impressions from engraved metal plates 
of the twelfth century must necessarily excite, the following remarks by Schnaase 
may be acceptable to the reader. " The style of these compositions permits of 
our forming a very high opinion of the artistic ability which was at the service of 
the Emperor and his consort ; at the same time it leads to the conclusion that two 
different masters were engaged on the work. In the scenes from the Life 
of the Redeemer, the conception is naive and dramatic; in the Crucifixion the 
Sun and Moon, Mary and John are represented in the usual way, while near them 
are trees treated somewhat naturally. In the Nativity the Child turns towards 
its mother. Joseph converses with raised hand, and even Ox and Ass appear 
to regard the infant Saviour with some consciousness of the importance of the 
occasion. The ground [? border] is always indicated by semicircular scales, each 
bearing a flower. The heads are more square than oval, the feet very large. 
On the other hand, the attitude and bodily form of the Angel of the Annunciation 
are nobler and more in typical manner, with pure oval shape of countenance, 
well disposed symmetrical curls, small and elegant feet, and a very fine cast 
of drapery is present, which permits of the form of the body being easily made 
out. The adjacent figure and accessories remind one rather of the drawings 
in miniatures of Byzantine character. We thus perceive the work not only of 
two masters of different endowments, but of two different purposes in contiguity 
with each other. The master of the Gospel History is influenced by the 
naturalism which made itself so apparent in miniature painting, the other 
master partakes of the tendencies of the severe style which at that time prevailed 
in sculpture. The coincidental occurrence to be noted clearly shows the influence 
which both forms of Art painting and sculpture exercised over the workshops 
of the workers in metal. The architecture is everywhere of the circular-arch 
character, and even the ornamentation of the borders and of the bands of the 






CORONA LUCIS OF AIX-LA-CHAPELLE. 29 

trellised grounds, as also the wreathlike bands bearing the inscription*, and which 
encircle the ring of the luminary, have throughout a Romanesque character. The 
ornamentation consists for the most part of rather simple winding forms, foliage 
and like patterns, but all varying and giving golden on a ground covered with 
a brown varnish a very rich appearance to the whole." (Op. cit. voL v. p. 793.) 

On passing to the inquiry Who was the actual manufacturer of this mag- 
nitirrnt light-bearer in the Church of Aix-la-Chapelle, which has now illuminated 
on special occasions its noble vestibule for longer than seven hundred yean ? 
we are informed by Dr. Bock that Death and Gift Registers of the Cathedral 
furnish this information 

" Under the gth entry before the Kalends of the Month of April (24 March) 
apparently in the last quarter of the 1 2th century, our Death register records 
the demise of a certain Riker, and remarks that the same was the father of 
Stephana, a Canon on the Aachener foundation. From an item following this 
entry it appears that the Aachener Clergy commemorated along with the obse- 
quies of Kicker those of a brother of the latter, viz. of Wibert, of whom the 
Death renter fully records' that he had presented to the Cathedral Church of 
Noire Dame in that city two silver chalices, also two houses situated close to the 
Church of St. Foillan. It is further noted and with praise that this Wibert had 
devoted much time and labour to the preparation of, the corona, that he had 
undertaken the repairs of the roof of the whole church, of the work of the gilt 
cross on the tower, and of the founding of the bells, and that he had carried out 
everything most satisfactorily." . ..." As far as relates to our Corona, Master 
Wibert appears to have been active not only as componist in the design of the 
same, but also to have taken in hand its technical execution. The one expression, 
' maximam operam adhibuit,' may be presumed to refer to the conception and 
plan of the corona, and the other, ' maximum laborem ad opus corona;,' to relate 
to the technical production or manufacture of the same. Unfortunately the day 
only and not the year of the Aachen Master and metal worker is indicated in our 
Death Register, otherwise we should possess a moyen de plus for the more perfect 
determination of the year in which the pharut of Aix-la-Chapelle had its origin. 
The result is therefore that we are obliged to infer its chronology from ita 
inscription." 

Relative to the peculiar appearances which the venos, especially of the latter 
eight impressions, exhibit, Dr. Bock observes, " Deviating from the eight pre- 
\iou-ly described circular discs, the base plates of the eight towers are as opera 
inteaeratilia, so pierced through by four (or more) coniered openings, that the 
greater number appear as if formed of regular lattice-work, in the midst of 
which the particular beatitudo is placed as a standing figure. This hnti.-.-d 
work, formed of narrow bands of red copper, has been decorated through the 
diligence of tin- engraver with conventional floriution of Romanesque character, 
; very varied patterns, deeply intagliated." .... "This [PI. 15] elegantly 
pierced lamina with its several figurative representations may be regarded as the 
perfect and beautiful among the sixteen terminal plates here described. 
Unfortunately as the impression shows in the course of more than 700 yean 

tl riginal metal lias suffered rather severely from oxidation, and in consequence 

an impn^-ioii could not be worked off from it in such purity and clearness as 
have been more or less attained in connection with the oilier prints." (Op. cit. 
13-) 



1 "<)(biit) Kickerus pater Stephani fratris nostri." " Item (obiit) Wibertus 
pater cjns.k-m Stephani. S. Dei (lenetrici II. ampulla* arL'enteas donavit et 
.Ina- domos qua: adherent Keel. S. Foillani ; insuper maximam operam et maxi- 
mum laborem ad opus coronse, ad tectum totius Kcclesue ad crucem deauratcm in 
turri, ad campana-s adhibuit et mnnia feliciter consuinpsit." (Op. i it. p. 



30 SPECIAL INCUNABULA. 

The results of the damage done to the original copper of PI. 1 5 by time and 
oxidation are mainly to be observed in the deficient inscription as given in the 
first ixMie, A. l. a, while in Dr. Bock's own version (A. l. b) the chief figure and 
other parts have suffered. In the latter version the inscription comes out more 
di>tinctly than in the Museum Series A. 1. a. This may result from the circum- 
stance that the thin layer of enamel varnish email brun of the French archaeo- 
logists with which the letters appear to have been covered, was more perfectly 
removed when the second series of impressions was worked off. 

"This plate also [PI. 1O] has become somewhat oxidated in the course of 
time, and thus the impression from it also is spotty and unclear." 

"On Plates 14, 15, and ib the forms of the letters on the scrolls do not seem 
deeply engraved, as they do in the other inscriptions, but to be indicated merely 
by a layer of the before-mentioned varnish. Hence these inscriptions also have 
come off imperfectly in the impressions." 

The numerous small circular white spots to be observed in the prints on the 
outer limits of the borders, and here and there about the middle of the im- 
pressions, correspond to the holes through which the metal plates have been fixed 
to the bases of the ornamental towers of the corona. Around many of these 
circular spots are indications of the oxidation which the copper has there under- 
gone and left permanent traces. 

[Dimensions variable.] [Uncoloured.] 



A. 2. 

THE "PASSION" OF THE MASTER OF THE 
YEAR 1457. 

LOWER GERMANY. 

A Series of Twenty-eight Compositions illustrative of the 
Passion of Our Lord. 

^PRESENTATIONS of events in the Passion of the Redeemer follow - 
ini: in each series a regular sequence, characterized Art particularly 
from the thirteenth to the middle of the sixteenth century. The cause for 
this has been found ' in the impassioned cry to contemplate the suffer- 
ings of Christ, which arose from the founders of the two important orders of Domini- 
cans and Franciscans. Not only did this desire influence the arts of design, but 
tin- dramatic art also was culled into requisition ; miracle, mystery, and passion 
plays were exhibited in nnt countries, and to this day " Dass Passionsspit-l" is 
performed every ten years in the Bavarian Highlands of Tyrol. In this hut. -r 
drama, the " traditional rendering of each scene with its types is retained, an<l the 
close connection between these religious mysteries and the art which is exem- 
plilifd in the ' Biblia Pauperum ' is demonstrated." 

The pictorial representation of the " Passion " was especially a favourite duty 
with the early German and Flemish Mastersof the fifteenth century. These w, n- 

1 I ':; History of our Lord as exemplified in Works of Art, &c.," by Mrs. 
Jameson and Lady East lake, vol. ii. p. l. 




THE MASTER OF THE YEAR 1457. 31 

followed by Martin Schongauer, Albert Diirer, Franz von Bocholt, Israhel van 
Mcckenen, Johann von Kiiln. Lucas van Leyden, the Master S, and others who 
are familiar to us, chiefly by their woodcuts or copper-plate engravings illustrating 
incidents in the Life of Christ, from His entry into Jerusalem to ilia appearance to 
tlic Disciples at Emmaus. 

The series of the Life of Christ was made afterwards to include other events, 
such as the Holy Women at the Sepulchre, the Last Judgment, and the 
Mass of St. Gregory. " Germany with her princes and potentates, indifferent 
to Art, and the great mass of the population depressed by poverty, gave but few 
commissions for pictures, and far less for works on a monumental scale to her 
great painters. They therefore gained their bread chiefly by the exercise of forma 
of Art more accessible to an humbler class of patrons." (Lady Eastlake,op. cit. p. 2.) 

The merit of such work as they produced mainly consists in its busy and 
dramatic character, there being more story in their designs and more allusion 
or foreshadowing of what is to come than in compositions of more artistic and 
re- lined character. 

The scries of prints about to be described is of much interest as regards the 
early history of the Art of engraving. On one of these prints occurs the third 
earliest date as yet recognized on an impression from a metal plate engraved in 
intaglio. This date is 1457. The first or earliest date on such an impression 
hitherto recorded is 1446, this is upon a piece the flagellation of a Passion 
formerly in the possession of the well-known iconophilist M. Renouvier, ofMont- 
pellier. The second date is that of the year of 1451, inscribed on an engraving 
by the Master P, of the Virgin and Child, a date, however, which in the opinion 
of some good authorities is not sans peur et sans reproche. 1 

On the composition representing the " Last Supper," in the present sequence 
occurs the inscription " Ivii. jor," which may be accepted in all surety we believe 
as signifying the year 1457. It should not be forgotten that there occur earlier 
dates than any of these on certain woodcuts, e.g. 1418 (but of doubtful genuineness) 
on the so-called "Brussels print;" 1423 on the "Buxheim St. Christopher," and 
1437 on the St. Sebastian of St. Blaize. 

The twenty-eight little prints under consideration are upon thin vellum, and 
have been cut out of a MS. in German, as the writing on the versot proves. At 
fir-t sight many of them appear as if they were the ordinary illuminated miniatures 
common to MSS. decorated not in the highest style of the miniatori. On close 
inspection, however, the outlines of the figures are seen to have been engraved 
and printed off in dark ink. The forms have been strongly coloured, the 
nimbi illuminated with leaf gold, and the armour of the soldiers and other 
metallic objects illuminated with silver, now tarnished from oxidation. From 
operations, and the painting of some of the accessories and broad shadows 
in lilack, any more delicate work of the graver if present which is not likely 
to be the case would be quite imperceptible. 



NO. I. 

THE YOUTHFUL CHRIST TEACHING IN THE TEMPLE. 

II1S design is a curious exception to the commencement of the 
'' Passion" as it is usually repre-ented. The first incident recorded 
i.s i_'fiicnillv that of Christ's entry into Jerusalem. Imt licrc we have 
an event conventionally belonging rather to tin- " Lite f tin- Virgin," 
the latter seeking her Son "sorrowing," and finding Him in the Temple. 

1 ( >n those two examples, see Passavant, vol. ii. pp. 3-6. Also Weigel, 

" Anfani.'i 1 , etc.," vol. ii. p. 335. 




32 SPECIAL INCUNABULA. 

In the present composition both the exterior and interior of the Temple are 
shown. On the right hand the inner part is exposed, allowing our Saviour to be 
seen on an elevated seat expounding the law from a book before him. Five 
figures as if engaged in discussion are around the seat, three of whom have books 
in their hands. Four of the figures are seated, one is standing. The event takes 
place beneath a groined and vaulted ceiling, two of the supporting columns of 
which arc represented. On the left hand the Virgin Mother and St. Joseph a 
diminutive figure are seen standing at the outer door, the knocker on which St. 
Joseph raises, as about to seek admission, while the Blessed Virgin a full head 
taller than St. Joseph looks anxiously towards the door. A circular nimbus, 
with slight indications of its cruciform character, is over the head of Christ, and 
a nimbus over the head of the Virgin : both nimbi are illuminated with leaf gold. 




NO. 2. 

JESUS WASHES THE FEET OF HIS DISCIPLES. 

|N the foreground kneels Christ, directed towards our right, with the 
forearms bare and " the towel wherewith he was girded." From the 
action of the Disciple on whose feet Jesus is engaged, the former 
appears to be Simon Peter hesitating at the act, to which hesitation 

our Lord has replied, " Si non lavero te non habebis partem mecum " (Johan : xiii. 

8). Simon Peter raises his hands exclaiming 

" Domine non tantum pedes meos sed et manus et caput" 

With the left hand our Lord grasps the right leg of the disciple seated on the 
right, between whom and Christ is a shallow tub, over which the latter holds His 
right hand, as if about to wash the disciple's foot held in the other. In a semicircle 
around and beyond the central figures are visible eleven of the disciples. Of 
some of these not more than small portions of their nimbi can be seen. The first 
and nearest disciple on the left is seated. All the figures have illuminated nimbi, 
the nimbus of Christ being large and cruciform. 



NO. 3. 

THE LAST 8UPFEB. 

I IIRIST and His disciples are seated at a round table in the front of 
which are two low seats, one on the right and one on the left hand. 
On the seat at the right hand is seated Judas Iscariot, who raises his 
hands and throws back the head gesticulating. His mouth is open, 
and the Devil in the form of a large fly is about to enter it. On the sides of 
the seat upon which Judas is seated appears the date 1457 in the following 
form 






THE MASTER OF THE YEAR 1457. 33 

Opposite to Judas, and on an exactly similar seat, but without any inscription 
upon it. sits another disciple raising his hands in astonishment at the behaviour 
of Iscariot. Christ is seated at the further and central point of the circle of dis- 
ciples, while that one of the latter " whom Jesus loved" inclines his head upon 
the table before our Saviour. 



NO. 4. 

CHRIST ON THE MOUNT OF OLIVES. 

N a bank in the foreground our Lord lies extended with face to the 
earth and with outstretched arms. Somewhat before yet beyond 
Him is a chalice on an eminence, above which projects from the 
clouds the hand of God the Father holding a small tau cross. The 
heads of the three disciples rise from behind the bank on the left. Above their 
nimlii may be seen the entrance to the Garden, the wattled fence enclosing which 
is in part visible. 

NO. 5. 

THE BETRAYAL BY JUDAS. 

[N the centre of the composition stands Christ in the act of being kissed 
by Judas, who stands on the Lord's left hand, and has a large purse 
at his side. A soldier from behind places his hand on Christ's chest, 
while another prepares to throw a rope over our Saviour, who from 
Hi- action appears as if saying to Simon Peter, " Mitte gladium tuum in vaginam ; 
Calicem quern dedit mihi Pater non bibam ilium ?" (Johan : xviii. l 1.) 

Immediately in the foreground sits Malchus, who has dropped his staff and 
lanthorn, and raises his left hand to the right ear. More or less of the persona of 
three other disciples may be observed near our Lord. 



NO. 6. 

THE PROSTRATION OF THE COHORT BEFORE CHRIST. 

[N the left stands Christ with raised right hand directed towards three 
of the guards prostrate on the bank before Him. Our Lord appears to 
have just uttered the words, "Ego sum," when the guards, " Abierunt 
retrorsum et ceciderunt in terrain." (Johan : xviii. 6.") 
Behind Christ and on the left stands a disciple, and on the right hand above 
the prostrate guards is the open door of the Garden. 

The account of the Betrayal of Christ speaking in reference to pictorial 
relations presents more circumstances than Art can express at once, for "looking 
broii, 11 v ;it the recital there are two separate ideas that of treachery in the kiss 
given by .hulas, 'one of the twelve,' and that of supernatural power in the effect 
of thi>*c low small words, 'I am He/ an answer so gentle, yet whirli )m<l in it a 
strength greater than the Eastern Wind or the Voice of Thunder, for God was in 
tli.it -till voice, and it struck them to the ground." 

" Both tin -( ideas were adopted by Art; that view of the Betrayal which in 

given by the prostrate guards l>ein^ from ita greater re\erenee adopted first. 

arly Art never lost .sight of the fiunlamentul conditions on which every event 

D 






34 SPECIAL INCUNABULA. 

in our Lord's course on earth, and especially of this portion of it, was based, namely, 
the yoluntary nature of all His acts." .... "The prostration of the troop is 
almost an anomaly when seen in Art, for the guards seem at this moment to be 
the captured and betrayed, not our Lord." ..." Generally the prostration of the 
guards is given in a very simple way. A few figures with weapons, and often in 
armour, are lying flat on the ground in parallel lines, whilst our Lord stands erect 
above them, the image of calm power." ("History of our Lord," vol. ii. p. 35.) 



NO. 7. 

JEM S HEFORE CAJAPIIAS. 

[N the right stands the High Priest Caiaphaa on the lowest step of 
the judgment seat. On his head is a mitre ; he is clothed in a 
long red tunic girded round the waist, and he tears open the vestment 
at his chest. He has interrogated our Lord standing with bound 
hands before him, " Tu es Christus filius Dei benedicti ?" etc., and observed to 
his persecutors ("scindens vestimenta sua")," Quid adhuc desideramus testes?" after 
what Jesus has replied. A soldier has raised his right hand, which holds a short 
club, as if about to strike our Saviour, while another soldier takes him by the left 
arm, thus illustrating the statement, " Ila-c autem cum dixisset, unus assistens 
minutrorum dedit alapam Jesu, dicens : Sic respondes pontifici?" (Johan: xviii. 22.) 



NO. 8. 

TUB MAID-SERVANT or THE HIGH PRIEST ACCUSING PETER. 

i N the left hand stands Peter with the right hand raised and turned 
towards the servant of Caiaphas on his left, who with both hands up- 
lifted and with expressive countenance, is accusing Peter of having 
been with Christ " et ille negavit eum dicens mulier non novi 
ilium." (Luc : xxii. 58.) 

Above the head of Peter is a niche in the wall in which stands a cock, and 
towards the right through an archway may be seen our Lord led away by soldiers 
to Pilate. 



NO. Q. 

CHRIST BEFORE PILATE. 

ILATE is seated on the right hand ; before him stands Christ, guard.-.! 
by soldiers. Pilate raises his hand as if in the act of saying, " nihil 
invenio cause in hoc homine." (Luc : xxiii. 4.) 







THE MASTER OF THE YEAR 1457. 35 



NO. 10. 

i IIKIST BEFOBB HEBOD. 

EROD clad in royal robe, with sceptre in the left hand and crown 
upon his head, is seated on the judgment seat, having behind him a 
richly embroidered curtain. lie raises his right hand and looks 
towards Christ, who stands before him guarded by soldiers. Our 
Lord looks passive and unanswering, and has His hands bound before Him. The 
guards around Him look insolently and inquisitively at the face of Christ, as to 
how he may reply to Herod, who " interrogabat autem cum multia sermonibus, et 
ipse nihil i Hi respondebat." (Luc : xxiii. 9.) 



NO. II. 

CHBIST MOCKED. 

IHRIST has been placed in mockery and blindfolded on a seat of im- 
portance. A mock sceptre is in His hands. An attendant on the left 
hand spits in our Lord's face and lifts his right hand open to strike 
Him ; another on the right is about to strike Him in the face with the 
palm of his right hand, while a third standing with outstretched legs before Christ, 
jeers at and mocks Him in illustration of Mark's account, " et coeperunt quidam 
conspuere eum et velare faciem ejus et colaphis eum caedere et dicere ei : Pro- 
phetiza : et minis tri alapis eum cede bant." (Marc : ziv. 67.) 



NO. 12. 

THE FLAGELLATION. 

jEXEATII the middle of an archway suppported by columns stands * 
tall pillar, extending the whole length of the composition. To this 
Christ is bound by the legs and arms. He is undraped with the 
exception of having a loin cloth. His body is covered with drops of 
A guard on the right hand raises above His head with both hands a 
rod, intended to strike our Lord with great severity. Another man on the left 
hand is about to strike Christ with a scourge raised in the right hand, while he 
holds in the left a rod. The action and expression of these prison officers are 
highly indicative of their intentions to carry out in full the orders of Pilate, 
" Tune ergo apprehendit Pilatus Jesum et flagellavit." (Johan : xix. 1 .) 



NO. 13. 

Till CROWMKQ WITH THORX8. 

sKN'K \TII a kind of vaulted chamber widely llatt. -n,-d at the top siU 
our Lord on a seat of cirrum-im.. . . Hi- l>odv has been clothed in a 
pur|>l(j robe of royalty from which protrude the bare arm*, covered 
with blood drops from the scourjrin.i;. < >n His head ii a crown of 
tborns, and in His ri^'lit hand a reed. A prison attendant stands on each tide of 





3 6 SPECIAL INCUNABULA. 

Christ pressing down by means of a long staff the thorns upon His brow, from 
which long drops of blood course down upon His face. The man on the left seems 
to express his enjoyment of the duty he is performing. A third man is kneeling 
before Christ mocking Him, thus illustrating the statement of St. Mark, " Et 
induunt eum purpura et imponunt ei plectentes spineam coronam et coeperunt 
salutare eum : Ave rex Judseorum. Et percutiebant caput ejus arundine et con- 
spuebant eum, et ponentes genua adorabant eum " (xv. 1 7). 



NO. 14. 

THE "BCCE HOMO." 

|N the higher step of a doorway to the Praetorium stands Christ, with a 
scarlet robe thrown over His otherwise naked and bleeding body, 
which is exposed as Pilate draws away the vestment from it with his 

left hand. On our Lord's head is the crown of thorns, and around 

His loins a cloth ; His hands are tied before Him ; an attendant behind and within 
the building appears as if pushing forward our Lord. Pilate stands on the left 
hand, and as if saying to the people near, " Behold the Man;" an attendant kneels 
on one knee before the steps of the doorway mocking Christ, and as if about to 
take off his cap in derisive honour to him. " Exivit ergo Jesus portans coronam 
spineam et purpureum vestimentum. Et dicit [Pilatus] eis: Ecce Homo. 1 ' 
(Julian : xix. 6.) 




NO. 15. 

PILATE WASHING HIS HANDS. 

JHRIST in long robe, crowned with the wreath of thorns, with drops 
of blood on His face and hands bound before Him, stands again before 
Pilate, seated on a judgment seat. The latter turns his head towards 
Christ and the soldiers guarding Him, while he washes his hands in 
oriental manner, illustrating the account by Matthew (xxvii. 24). " Videns autem 
Pilatus quia nihil proficeret, sed magis tumultus fieret : accepta aqua, lavit man us 
coram populo dicens : Innocens ego sum a sanguine justi hujus, vos videritis." 

Behind Pilate stands the attendant, sent by Pilate's wife ; he looks anxiously 
and points downwards towards Christ, as if repeating his mistress's caution : " Nihil 
tibi, et justo illi ; multa enim passa sum hodie per visum propter eum." (Matth: 
xxvii. 19.) The soldiers guarding Christ are in armour, bearing lances with 
pennon*. 




NO. 1 6. 



CHRIST BEARIRG HIS CROSS. 

f ESUS stooping somewhat supports with both hands the Cross upon His 
back, directing His steps towards the right. Before Him is a man 
pulling our Lord forwards by the rope by which He is girded. 
Simon of Cyrene in a low stooping posture bears up the Cross at its 
lower end. The Blessed Virgin with raised and joined hands follows her Son, 
and a man behind seems to be pushing her back again. A soldier with a short 
staff presses down the thorns on Christ's head. 





THE MASTER OF THE YEAR 1457. 37 

Thus is St. Matthew's description illustrated : 

" Et postquam illuserunt ei, exuerunt eum chlamyde et induenint eum vesti- 
mentis ejus et duxerunt eum ut crucifigerent. Exeuntes autcm invenerunt 
lii.iiiiiifin Cyrenaeum nomine Simonem, hunc angariaverunt ut tolleret crucem 
ejus" (xxvii. 31). 



NO. iy. 

THE DISROBING OF CHRIST, AND VIRGIN APPLYING THE LOIN CLOTH. 

|UR Lord is nearly stripped of His garments by a soldier on the right, 
showing the body marked with the effects of the flagellation. Hia 
Holy Mother stands behind our Lord, around whom she is about to 
tie a loin cloth. " This subject is rarely seen, but may be traced to 
a passage from a dialogue on the Passion of our Lord, much after the fashion of 
St. Brigitta's ' Revelations, 1 by one Dionysius a Richel, a Carthusian, who makes 
the Virgin say, ' Panniculum capitis mei circumligavi lumbis ejus,* i.e. ' I wrapt 
his loins round with the cloth from my head.' " (" History of our Lord," vol. ii. 
p. 126.) 

Behind the Virgin stands St. John ; beyond him appears the nimbus of another 
disciple. 

NO. 1 8. 

CHRIST DISROBED AWAITING THB PREPARATION OF THB CROSS. 

'HIS also is an unusual representation in the series of the Passion or 
Stations : our Lord is seated upon His vestment thrown down on the 
ground towards the left. A loin cloth only girds Him. His hands are 
tied in front ; His countenance expresses subdued pain and grief. 
Behind and on the side of an acclivity lies the Cross, in which one man is 
boring a hole where the feet of the Crucified are to come, and another is boring a 
hole at one of the ends of the cross-beam. Pilate with an attendant is looking 
on and giving directions. 



NO. 



CHRIST BEING NAILED TO THE CROSS. 

'HE Cross lies on the side of an acclivity; upon it is stretched oar Lord. 
His right hand already nailed to it, and His legs bound to it by a rope. 
An executioner drives a nail through Christ's left hand, while another 
nails the feet to the Cross. Pilate with an attendant is looking on 
giving orders. Christ appears looking up towards heaven as if saying, " Pater, 
dimitte illis : non enim gciunt quid faciunt." (Luc : xxiii. 34.) 





SPECIAL INCUNABULA. 



NO. 2O. 



CHRIST ON TUB CROSS. 

[UR Lord w upon the now elevated Cross ; on the right hand side of it 
stands the Blessed Virgin with joined hands and looking slightly 
downwards towards the body of her Son. On the left of the Cross 
stands St. John holding a book in his right hand, which is hidden 
under his mantle. Blood drops from the wounda in the hands of Christ and issues 
from the puncture in the right side of the chest. 

This is a very simple and early form of representing the Crucifixion one in 
which the Virgin and St. John stand alone by the Cross and where the presence 
of the thieves is omitted. 







NO. 21. 



THE DEPOSITION FROM THE CROSS. 

HE right hand of Christ has been detached from the Cross and falls 
over the left shoulder of Joseph of Arimatbsea, who receives in his 
arms the body of our Lord just above the loins, which he infolds in a 
large piece of drapery. On the right hand an executioner has 
ascended a ladder in order to remove the nail which secures the left hand of 
the Crucified to the Cross. On the left stand the Virgin Mother and St. John, 
the former with raised and joined hands. 

" Rogavit Pilatum Joseph ab Arimathea ut tolleret corpus Jesu, et permisit 
Pilatus. Venit ergo et tulit corpus Jesu." (Johan : xix. 38.) 




NO. 22. 




THE HOLY WOMEN LAMENTING OVEB THE BOOT OF CHRIST. 

HIS incident (Station 13), which does not receive mention in the 
Gospels, is described by St. Buonaventura as follows : " The nail 
being extracted from the feet, Joseph descended and all received the 
body and placed it on the ground. Our Lady sustained the head and 
shoulders on her lap ; the Magdalen the feet, next which she had formerly found 
such grace ; others stood around, all making great lamentations all weeping for 
him as bitterly as for a first-born." 

In the composition before us, St. John is represented in the middle, kneeling 
with joined hands over the body of Christ On his right hand kneels the Blessed 
Virgin, on his left Mary Magdalene. Behind, yet looking between the Virgin and 
St. John, may be perceived St. Martha. 




THE MASTER OF THE YEAR 1457. 39 

NO. 23. 

THE ENTOMBMENT. 

HE body of Christ as received from the Cross is being lowered into a 
tomb by means of a large sheet, held beneath it by Nicodemu* and 
Joseph of Arimathaea, as they assist in the performance of their sacred 
duty. Nicodemus stands on the left supporting our Lord's head and 

shoulders as His body is placed in the tomb. At the feet is Joseph of Arimathea. 

The Blessed Virgin stands with joined hands in the centre of the group behind 

the tomb. 

" Erat autem in loco, nbi crucifixus est, hortus : et in horto monumentum 

noviim in quo nondum quisquam positus erat. Ibi ergo propter Parasceven 

Judsormu, quia juxta erat monumentum, posuerunt Jesum." (Johan: xix. 41.) 



NO. 24. 

THE DESCENT INTO LIMBfS. 

was a legend of the seventh century that our Lord between the 
times of His Crucifixion and His Resurrection passed on to " Limbus," 
a border place for the unbaptized, as distinct from Purgatory, the 
temporary abode of those who had received the Sacrament of Baptism. 
From Limbus a wail had issued on the completion of Christ's Sacrifice, " Lift up 
your heads, O ye gates, and be ye lift up ye everlasting doors, and the King of 
(ilory shall come in." To which answered the Prince of Darkness, in his assump- 
tion of mock ignorance, "Who is this King of Glory?" when the Spirit of David 
replied, " The Lord strong and mighty, the Lord mighty in battle the Lord of 
Hosts, He is the King of Glory." (Psalm xxiv.) Then appeared Christ before 
the gates of Limbus, which fell to pieces at His approach. 

In the representation before us of this incident, our Lord is seen on the left 
hand clad in royal scarlet vesture, holding in the left hand a crops and labarum, 
or banner of victory, and with the right grasping the arm of Adam, whom He 
leads forth from Limbus. The latter person is followed by Eve and the SainU 
of the pre-Christian period, while David the Royal Prophet is supposed to exclaim, 
"O sing unto the Lord a new song, for He hath done marvellous things; His 
ri^'ht hand and His holy arm hath gotten Him the victory." (Psalm xlviii.^) The 
doors of Limbus lie in fragments on the ground, and on these our Lord stands. 
Flames issue from the open doorway, and surround the bodies of the Saints. 
Through an arched openiiiL' in the wall on the right may be seen the bead of a 
demon gazing in anger at Christ. 

In representing tin's assumed event " we should greatly err in restricting the 

aim of the artist to the supposed deliverance of certain soul- from hell. In earli. r 

:it :ill e\ents the illustration of a great principle as well as of a legendary 

jcct. It was Christ having overcome the sharpness of death and 

_' the kingdom of Heaven to all believers." ("History of our Lord," vol. ii. 

I'- ^570 





40 SPECIAL INCUNABULA. 



NO. 25. 

THE RESURRECTION. 

[HOUGH the Gospel narratives do not afford an account of any of the 
details of the actual Resurrection, since not any mortal eye had wit- 
nessed it. yet from the thirteenth and fourteenth centuries Art took 
upon herself its representation. 
Taking the account of St. Matthew as the text from which to proceed 
" Convenerunt principes sacerdotum et Pharisiei ad Pilatum dicentea : Domine, 
recordati sumus, quia seductor ille dixit adhuc vivens : post tres dies resurgam" 
(xxvii. 62) our Lord is seen rising from the tomb, giving benediction with tin- 
right hand, and bearing the cross and banner of victory in His left.. A scarlet 
drapery covers partly the body. Three guards are near the tomb, two of whom 
are represented asleep ; one is prostrate on the ground before the tomb. It may 
be observed that the tomb is closed and elaborately sealed, while above it ascends 
the Lord. 

NO. 26. 

THE HOLT WOMEN AT THE SEPULCHRE. 

N illustration of St. Mark's account " Et cum transisset Sabbatum, 
Maria Magdalene, et Maria, Jacob!, et Salome emerunt aromata ut 
venientes ungerent Jesum et introeuntes in monumentum viderunt 
juvenem sedentem in dextris qui dicit illis nolite expavescere Jesum 
quseritis Nazarenum crucifixum : surrexit, non est hie, ecce locus ubi posucrunt 
eum" (xvi. 1-6) within and at the right hand end of the now open tomb stands 
an angel, who lifts with the left hand the empty winding sheet of the Lord, and 
turns as if addressing the Holy Women. A long scroll proceeds from the hand of 
the angel, but not any inscription is upon it From the angel's forehead rises a 
sma'l gold cross. The three holy women are seen descending to the tomb bearing 
vases of precious ointments in their hands. 



NO. 27. 

CHRIST APPEARING AS THE OABDENEB TO MART MAGDALENE, 
OR THE " NOLI ME TANGERB." 

[N the right stands Christ with head turned towards the left ; He rests 
the right hand on the handle of a spade, and bears a cross and laba- 
rum in the left hand. On the left kneels Mary Magdalene with raised 
hands looking towards Christ. Both persons are in red vestments. 
Behind them runs the wattled fence of a garden, and on a hill in the distance is a 
large tree. The marks of the wounds from the nails are shown on the feet and 
hands of our Lord. " Dicit ei Jesus : noli me tangere, nondum enim ascend! 
ad Patrem meum." ( Johan : xx 1 6.) 

" In this action ' Touch Me not' needs no vindication. He has passed the 
gates of Death. She is still on our side of them. She is the same, yet myste- 
riously changed, for mortality has put on immortality. A narrow space only 
divides them, but yet it is ' the insuperable threshold.' " (" History of our Lord," 
vol. ii. p. 280.) 






THE MASTER OF THE YEAR 1457. 41 

NO. 28. 

THE INCREDULITY OF ST. THOMAS. 

lEXEATII the groined and vaulted ceiling of a chamber supported by 
columns stands Christ on the right, bearing in His left hand the cross 
and labarum. He places His right hand on the forearm of St. Peter, 
who kneeling at His side applies his hands to the wound in the chest 
of Christ. Here is illustrated the statement of St. John. " Dicit Thomse : Infer 
dijritum tuiiin hue, et vide manus meas et affer manum main et mitte in latus 
meum: et noli esse incredulus sed fidelis." (Johan: xx. 27.) 

The various pieces of the series which have been now described are, as before 
remarked, strongly coloured, the nimbi illuminated with gold, and the armour and 
implements with silver. The latter is now black from oxidation. All the grounds 
whether of in or outdoor scenes are of deep green colour, and the skies are 
coloured at the upper parts deep blue. The high lights have been left to be 
formed by the white ground of the vellum in the draperies of the Virgin, St. 
Thomas (Xo. 28), and of some of the other figures, the effect of which in certain 
of the prints (No. 1 2, e. g.) is that of a miniature on ivory. 

' In style of Art, and in the still soft folds of pure taste, these little prints 
recall the small Passion by Meister Wilhelm in the Berlin Museum. At the same 
time the treatment is very simple, and does not extend beyond a pale outline. 
Most of the compositions have something awkward ; on the other hand, single 
motives are speaking. The powerful colouring applied, and the large glories 
laid on with gold leaf, with borders and decorations painted in black, bring these 
little prints in close affinity to miniatures. Here evidently we see a kind of 
transition from the art of miniature painting, to that of engraving on copper." . . . 
" These engravings appear to have been executed in the Rhine country, probably 
in Cologne ; they afford a fresh proof of the early exercise of the art of engraving 
on copper in Germany." (" Galleries and Cabinets of Art in Great Britain, etc.," 
by Dr. Waagen. Murray's Edition, 1857. Supplementary volume, p. 49.) 

It may be observed that the designer and colourist have adhered to two con- 
ventional rules, followed when Judas Iscariot was represented, " by an exaggera- 
tion of the Jewish cast of features combined with red hair and beard, they [the 
painters] flattered themselves that they had attained the desired object But as 
if this were not enough the ancient painters, particularly in the old illuminations 
and in Byzantine Art, represent Judas as directly and literally possessed by the 
devil. Sometimes it is a little black demon seated on his shoulder and whispering 
in his ear ; sometimes entering his mouth : thus in their simplicity rendering the 
Words of the Gospel, ' Then entered Satan into Judas. 1 " 

" The colour proper to the dress of Judas is a dirty dingy yellow, and in 
Spain this colour is so intimately associated with the image of the arch-traitor, as 
to be held in universal dislike ; both in Spain and Italy malefactors and galley- 
slaves are clothed in yellow, at Venice the Jews were obliged to wear yellow bats." 
(" Sacred and Legendary Art," p. 1 54-) 

Each composition is enclosed within a border, rather more than Jth of an im-h 
wide and coloured deep red. 

[Size including border 3J- X 2j] [Coloured.] 



42 SPECIAL INCUNABULA. 




A. 3. 

THE VIRGIN AND CHILD ADORED BY AN 

ABBOT. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
GERMANY. 

WITHIN a chapel of Gothic architecture stands the Blessed Virgin, 
bearing on her right arm the infant Jesus. She is draped in tunic and 
mantle, very large and full in their folds, concealing the low wall, the 
seat behind her and the ground at her feet. A plain nimbus encircles 
the head of the Virgin and her long and waved hair falls over the shoulders to 
below the arms. In general action she is directed slightly to the left, and her 
head is inclined somewhat over her right shoulder. The infant Saviour on the 
Virgin's arm holds in His extended right hand a flower, while He grasps with His 
left hand the left foot, pressing both against the body of His Mother. A circular 
nimbus with cruciform rays within it surrounds the infant Saviour's head, the hair 
of which is curled in such way as to resemble somewhat a wreath of rosebuds. 
A piece of drapery is thrown over the lower part of the body, which otherwise is 
nude. To the left kneels a tonsured ecclesiastic with joined hands, as if in adora- 
tion. A pastoral staff with inverted crook rests on his ri<;ht arm and shoulder. 
He is draped in a full and caped mantle with collar and tassels at the neck and 
cord around the waist. This personage is probably intended to represent a 
mitred abbot the Abbot Ludwig. From above the shoulder of the latter rises 
a broad and waved scroll, extending over the entire length of the window behind 
him, and on which is inscribed in reverse 

" 31e0u toetbum 00 mi patris 
>erua 2>mio0 tue 



The scene is regarded through a broad, rounded archway, supported at each side 
by short clustered columns. In the background behind the Virgin is a sort of 
cloister having four small circular arched windows. The ground is marked out 
as pavement in perspective, and the stony character of the walls is indicated l>y 
the technic. On a margin at the top of the print, above the mouldings of the 
archway, ia inscribed in Gothic character in reverse 

&utib>icu0 r. abbaa jr anno jr Domini jr ISA A. 

On a margin below the composition are the words in like character 

jc aunfafacr jr. 



A certain amount of cross hatching may be observed in parts of the drapery 
and elsewhere. The work in places is coarse in character, but in portions of the 
drapery of the Virgin it is comparatively delicate, and in lightly worked -off 
impressions, the delicacy of the tci-hnic in the larjre folds of the Virgin's nmntK- 



THE VIRGIN AND CHILD OF 1477. 43 

appears such as to be out of keeping with much of the work elsewhere, giving rise 
to a suspicion as to the genuineness of the original plate from which the impres- 
sion has been taken. 

The impression itself is confessedly modern, baring been worked off, according 
to Heller (" Practisches Handbuch fur Kupferstichsammler." Leipzig, 1858, 
p. 83), from a plate found fixed on the wall of the sacristy of a church connected 
with the Praemonstraten Convent of St. Lucien, in Graubunden. This plate 
came afterwards into the possession of Hertcl, an art publisher at Augsburg, who 
at the end of the last century, remarks Heller, " according to his own statement 
had twenty-four impressions only worked off from it, and had the impudence to 
ask a subscription of six ducats for each impression." 

The original plate is assumed to have been from its position when found, 
either a votive one or an ornamental appendage to a tabernacle or other piece of 
church furniture. The marks of the holes through which passed the screws by 
which the plate was fixed, are visible in the impression, and as the inscriptions 
on the latter are in reverse, the plate was evidently not intended to have been 
printed from. From the lower inscription it may be inferred that the plate was 
the work of one Wolfgang, a goldsmith, and from the upper that the decoration 
was the gift of Abbot Ludwig in the year 1477. 

There is a modern copy of this print in reverse, all the inscriptions reading 
right therefore. 

The question may be asked, Was the original metal plate itself from which the 
impressions in reverse were printed off really what it pretends to have been, 1 and 
the genuine character of which was accepted by Bartsch (vol. x. p. 1 6, n. 1 3) and 
by 1'assavant (vol. i. p. 264, p. 352)? 

A bare suspicion of the genuine character of this print had more than once 
come across our mind, but in the face of the authorities mentioned we hesitated to 
it value. It has been freshly revived, however, since we met with not long 
ago the following notice in Rudolph Weigel's "Kiinstlager-Catalog" (Leipzig). 
Number 8725: " .... Wolfgangus Aurifaber Die Madonna mit d. kinde, von 
eincin Bischoff verehrt, 1447, fol. Neuer Dmck einner von Bartsch (P. dr. 
'I', x. S. 16.) beschrieben Blattes von der Gegenseite. Beide 6'fters vorkom- 
menden Bl. Nr. 13 sind alt u. existiren in neuen Abdrucken, find aber fast 
worthies ; da es compilationem aus iiltern Bliittern sind, dazu weder Kunst 
noch Interesse des Alterthums sie auRzeichnet." 

Though there is to us some obscurity in the above statement, we have come 
to the conclusion that in Weigel's opinion the original plate itself is a compilation 
in modern times from older plates, and that both the first impressions aa well as 
the copy in reverse are " almost worthless." 

Reference has been made already to a certain discrepancy in the work of 
different parts of the engraving the technic is out of keeping as a whole. At 
tirt sight such may not be apparent, but let the larger folds of the Virgin's 
mantle be closely examined, and then other parts of the print, and it mu>t appear 
we think as if the engraver forgot his assumed (P) old-style of work a style 
associated in the mind with coarseness or want of delicacy when he worked on 
the folds of the mantle. 

The inscriptions are en rebourt, yet the Virgin sustains the Child on her right 
arm, and the latter holds the flower in His right hand both actions being rcpn- 
<1 on the original metal by the artists as performed by the left hand of. .mr-c. 
It may be said, however, that it is more natural for a inth<-r t< hc.M her rliild 
on the left arm than on the right, and as under such cirruinMiuiec- the left arm 
of the Child would be the free one, the Child would extend that arm with the 
lluwcr in the hand, and not the right one. Further, whatever might be said of 

1 That is, a plate worked by a goldsmith in the year 1477. 



44 SPECIAL INCUNABULA. 

the face of the Infant Saviour, of the features of the Virgin and of the adoring 
ecclesiastic, little could be advanced in favour of their being such as we might 
expect from an engraver who worked the folds of the mantle. 

[11 1. X 8.] [Uncoloured.] 



A. 4. 

THE VIRGIN AND CHILD ADORED BY AN 

ABBOT. 

COPT. 

NINETEENTH CENTURY. 
GERMANY. 

COPY in reverse of the engraving before described [A. 3]. 

In this inferior production the actions are performed with the right 
arms and hands, and the inscriptions read properly. The lower in- 
scription is wanting and the marks of the holes of fixature are absent 
We assume this print to be the one first referred to by R. Weigel in the 
notice of his Catalogue (No. 8725) previously quoted. 

[11 x 8.] [Uncoloured.] 





DIVISION B. 

PRINTS IN THE MANIERE CRIBLEE. 




PREFATORY REMARKS. 

Prints in the " Maniere Criblee." 

HE examples now to be described present to the 
eye a very peculiar appearance. In the novice 
they give riae to much curiosity as respects the 
mode of their production, a curiosity the satis- 
faction of which many experts would consider to 
be still a desideratum. The most striking 
feature in the appearance of the majority of 
these prints, is the important part which white dots (of variable 
size) on a dark ground have been made to play in the technical exe- 
cution of them. From the preponderance of this particular technic, 
the engravings in question have received the names of " Dotted 
prints/' Schrotblatter, and prints in the Maniere Criblee. 

When attention was first drawn to them, they were con- 
sidered to be impressions from engraved wood blocks, and to 
this opinion some authorities still adhere. More recent in- 
vestigations have led, however, to a prevalent conclusion that 
these prints have been worked from metal plates (of rather soft 
material), which have been engraved in a composite manner, a 
manner partaking of some of the characteristics of both wood 
engraving, or engraving in relief, and ordinary metal plate en- 
graving, or engraving in intaglio. It must be admitted, however, 
that the "large dotted manner" was occasionally performed on wood; 
but whether as only an experimental imitation or not of the original 
process on metal is a doubtful matter. On reference to a print of 
the Last Judgment from a wood block in the Derschau and Becker 
collection, 1 it may bo seen that the original engraving was treated 

1 - Ilol/schimu- alter doutscher II (Jotha, 1801, |>Utc A i i 



48 PRINTS IN THE MANIERE CRIBLEE. 

in parts in a manner like that practised, it is assumed, usually on 
metal plates. In the print referred to, the drapery for instance of 
Christ and part of that of John the Baptist are treated as in the 
manure criblee. It is probable, also, that some at least of the cuts 
having crible grounds to be met with in the French " Livres 
d'Heures " are from wood blocks, though it is known now that in 
many instances they are really from metal. 

As we examine various impressions in the maniere criblee, we 
cannot help feeling that certain of the forms in the designs appear 
to be given by white parts on a black ground; while other forms, and 
particularly the shadow lines, seem to be produced by black parts on 
a white ground. Close and repeated examinations have led us to the 
belief that those forms in the composition which may be considered 
as given by white are en creux or in intaglio on the original metal, 
while such parts aa depend on black forms are mostly in relief on 
the metal. We state mostly, because in certain shadows and 
textures there is displayed such fine and delicate frayed, lined, and 
cross-hatched technic black off a white ground, as to lead to the 
supposition that in these parts of the engraving the black lines 
have been executed in intaglio, as in ordinary metal or copper-plate 
work. With these exceptions, it may be laid down that all forms, 
lines, and parts which are black in the impression have been in 
relief on the original metal and received the ink, while those which 
are white were en creux (as in wood engraving) and escaped it. 
The exceptions made in respect to certain black delicate frayed and 
lined work, assumed to have been in intaglio in the metal, involve 
of course the reception there of the ink as in ordinary copper-plate 
engraving, while the adjacent white ground in relief must have had 
the ink cleaned away from it before the impression was taken. 
This strange mixture of work and effects gives rise, as M. Hymans 
remarks, "to a combination more singular than agreeable." To 
quote Passavant, " The ground remains in relief in order to be 
printed off black, varied with a dotted work, or a work in the manner 
of tapestry. After a like way the draperies are frequently orna- 
mented with points or dots of various sizes, imitating the embroidery 
in pearls and in silk of church hangings; or with stars, oblong 
granules, &c., punched out over very fine hatchings or on the black 
ground, the lights being graduated towards the shadows by removal 
of the metal. The result is a particular play of ornaments and of 
light and shade which is not devoid of a certain charm, though 
this kind of work cannot protend to occupy a distinguished place as 
an object of Art." (" Peintre-Graveur," vol. i. p. 84.) 

The view which we have taken of the method of engraving 
adopted in the maniere criblee may appear a somewhat involved 
one, yet it is in the main we believe right, and is supported by the 



PREFATORY REMARKS. 49 

statements of M. Hymans of the Department of Prints, &c., at the 
Bibliotheque Royale de Belgiquo. M. Hymans writes : 

" We are indebted to the kindness of an amateur at Malines, 
M. Aug. de Bruyne, of having been able to append to our memoir 
a proof from a plate of copper which he has in his possession, and 
which offers a valuable document for the study of the ' travail 
cribleY and is perhaps the only one of its kind known. This plate, 
engraved in copper, is executed both en creux and en relief. It 
represents Saint Crispin and Saint Crispinian, patrons of shoemakers 
and cobblers .... In this plate the lines of the features, the rays 
encircling the heads of the saints, the folds of the draperies in a 
word, everything that defines is in relief as in wood engraving, but 
otherwise la taille douce has been made to contribute largely, and 
gives to the impression white lines on a black ground/' (" Documents 
Iconographiques et Typographiques de la Bibliotheque Royale de 
Belgique," 1 serie, deuxieme livraison, par M. H. Hymans, p. 171.) 
M. Renouvier also alludes (" Gazette des Beaux- Arts," 1860, vol. vii. 
p. 331) to a plate of copper engraved in relief, representing the 
Vision of St. Bathilde with an inscription of three lines in Latin, 
and of which M. Longperier has given a description (accom- 
panied by a proof worked off from the plate) in the " Cabinet 
de 1' Amateur." 

From the inscriptions on some of the prints under discussion 
being in reverse, and from actions being performed with the left 
hand which are ordinarily carried out with the right, it is evident 
that the original plates of such prints were not intended to have 
been printed from. They were engraved probably as ornamental 
plates to adorn small articles of ecclesiastical and altar furniture, 
judging from the marks on the impressions of the holes in the 
original metals through which the screws passed by which they were 
affixed, and which marks are occasionally numerous. In other 
instances from the inscriptions and actions being right (as opposed 
to en rebours), it may be concluded that the intention of the engraver 
was that his work should be made to furnish impressions. 

The persons who produced these plates were more craftsmen 
than artists, probably goldsmiths or other ornamental metal en- 
gravers who essayed to combine with their own decorative work 
si'ino of the more usual characteristics of ordinary engraving, aa 
they found that their own particular style was more or less in 
<li. -accord with the conditions requisite for the working off of 
impressions. 

The earliest actually dated print in the present manner yet 
known the Sanctus Bernardinus of the Paris Cabinet (B. 19) 
l><>ars figures which have been variously deciphered viz. as 1414, 



50 PRINTS IN THE MAN I ERE CRIB LEE. 

1454, and 1474. We read these figures as 1474. That older im- 
pressions than this last date would imply have reached our time must 
be allowed, but it may be questioned with justice if we have a 
print in the maniere criblee which was produced before the middle 
of the fifteenth century. 

M. Lon Delaborde was of opinion that engraving in la man I' re 
criblee gave rise to all other styles of engraving. The first impres- 
sions ever taken must have proceeded, he thought, from the ateliers 
of engravers on metal, and not from those of engravers on wood. 
These workers in metal engraved in relief, and in that form of tech- 
nic which has yielded our gravureg criblees. The eminent writer 
mentioned considered that among the goldsmith workers in the 
Pays-bas or by the Rhine, must have been several who printed off 
" dotted prints " at the beginning of the fifteenth century, and that 
the woodcuts usually described as the more early examples of the 
art of engraving were in reality but the results of a process which 
was only a reform of, or modification of another process already 
existing. 

M. Henri Delaborde has sought to substantiate these opinions 
(" Gazette des Beaux- Arts," 1869) in proving that the Paris Cabinet 
possesses two prints en criblee which were certainly executed by the 
year 1406. We have elsewhere 1 discussed the validity of this 
opinion, in which we cannot coincide. Sufficient therefore will it be 
to state here, that while we cannot place the time of the production 
of such dotted prints as have come down to us as far back as would 
MM. L&m and Henri Delaborde, we agree with M. Hymans that 
when we consider the styles of their ornamentation, and of the 
nimbi and diadems that encircle the heads of the faints, and parti- 
cularly the character of the drapery, we feel that we are nearer in 
most instances to the end than to the beginning of the fifteenth 
century. It may be observed also, that under any circumstances a 
like absence of a certain character may be noticed in prints of the 
maniere criblee, as is apparent in other works assuredly ancient, a 
few of which are as old, or it may be anterior in origin to the St. 
Christopher, 2 and which serves to limit the date of their produc- 
tion much before the fifteenth century. The character hero absent 
and to which allusion is made, is that of the Byzantine or Romanesque 
style. The stylo of design and drawing present is, on the contrary, 
the Gothic, or the stylo of which the schools of Cologne and the 
Van Eycks have preserved the types. That style, the Byzantine, 
which may be found in the manuscripts and bas-reliefs of the twelfth, 



1 "An Introduction to tin- Study and Collection of Ancient Prints," second 
edition. \o! i. p. 30. London, 1877. 

8 A.D. 1423. 



PREFATORY REMARKS. 51 

thirteenth, and of a considerable portion of the fourteenth century, 1 
is never exhibited in these early prints, a style which may be seen 
however in engraved ornamental metal work, executed at a time 
when the art of taking impressions would appear to have been un- 
known. In illustration of this fact, the reader has but to study the 
style of the design and drawing, which characterizes to some extent 
the work on the ornamental engraved metal plates of the " Corona 
Lucis" of the cathedral at Aix-la-Chapelle [A. 1], which work was 
executed towards the end of the twelfth century. 

It must be admitted nevertheless that the craft source, if we 
may so speak, whence engravings in the maniere criblce originated, 
dates back much beyond the time when from that same source 
sprang the particular examples now under consideration. Though 
the dotted prints were first produced during the second half of the 
fifteenth century, they are no doubt intimately linked to earlier 
efforts of the goldsmith's art, efforts, however, which were never made 
to give their impress either to vellum or to paper, and which were 
the more in disagreement with the conditions required for such a 
process the further they receded in time. 

Much of the technical methods of the execution of the original 
metals for the prints in the dotted manner appears to be described in 
that curious and valuable tractate of the Monk Theophilus, a MS. 
first written at the beginning of the twelfth century probably. The 
account therein given is of so apposite a character that no apology 
is required for its introduction here. 3 

In the " Liber Tertius," caput Ixxi., " Do Opere interrasili " is 
treated, and the following method of procedure laid down : 

"Attenuate tibi laminas ex eodem cupro sicut superius sed 
spissius, quas pertractas quocumque volueris opere fodies ut supra. 
Deinde habeas ferros graciles et latiores, secundum quantitatem cam- 
porum, qui sint in una summitate tenues et acuti, in altera obtusi qui 
vocantur meizel, ponensque laminam super incudem campos omnes 
porforabis cum supradictis ferns percutiens cum malloo. Cumque 



1 It may be met with in a MS. of the commencement of the fifteenth century 
even; e.g. in the MS. of Jean de Stavelot, executed at Liege, A.D. 1428, and com- 
mented on by M. Alvin in his " Commencement* de la Gravure aux Pays-baa." 

Hruxelles, 1857. 

2 Our extracts are taken from Albert Tig's edition of the oldest copy known 
of this MS. " Theophilus Presbyter, Schedula Diversanim Ariiuin." I Band 

lirter Text, iil>erset/im;,' unl Appendix von Albert Up. Wien, 1874. The 
work forms nue of the v..lnm.-s in " (JiielU-n Srlirifti-n fur Kiuxtppsrliirhte und 

;tee!mik des Mitt, Liters undderRenaiBsim.,.." 1 lerausgegeben von K. ! 

r von |-;!,.|ln-rir. The MS. is in the Grand Dural Library at WoltVul.uttell. 

!;it, ot'it- event inn has been placed as far back as the tenth or eleventh 
tury, and l.roi. 1 to the thirteenth. Hg places it in th twelfth century. 



52 PRINTS IN THE MANIERE CRIB LEE. 

omnes campi tali modo fuerint perforati, cum limis parvulis aequabis 
eoa per omnia usque ad tractos. Quo facto deaurabis et polies 
liiminam ut supra. Eodem modo fiunt tabulae, et laminae argenteae 
super libros, cum imaginibus, floribus, atque bestiolis et avibus, ex 
quibus pars deauratur, videlicet coronas imaginum et capilli atque 
vestimcnta per loca atque pars remanet argentea. Fiunt etiam et 
laminae cupreae et fodiuntur et denigrantur ac raduntur; deinde in 
patella liquefacto stagno mittuntur, ut rasurae albae fiunt quasi dear- 
gcntatae sint. Ex his Hgantur cathedrae pictae et sedilia atque lecti ; 
ornantur etiam libri pauperum." 

" Caput Ixxii." treats " De Opere punctili " as follows : 
" Fiunt etiam laminae de cupro, modo quo superius et fodiuntur 
gracili opere imaginum, florum sive bestiarum et ita disponitur opus, 
ut campi parvuli sint, deinde purgantur cum subtili sabulo et cum 
ferns ad hoc opus aptis, poliuntur sicque deaurantur rursumque poli- 
untur et incolorantur. Post haec ferro punctorio punctatur, quod hoc 
modo formatur. Ex chalybe fit ferrum ad mensuram digiti longum 
in una summitate gracile, in altera grossius. Quod cum in gra- 
ciliori parte aequaliter limatum fuerit, cum subtilissimo ferro et 
malleolo percutitur in medio ejus subtile foramen deinde circa 
ipsum foramen diligenter limatur, donee ora ejus in circuitu aequa- 
liter acuta fiat, ita ut quocunque percutiatur brevissimus circulus 
appareat. Post heec ipsum fernim modice calefactum ut vix can- 
descat, temperetur in aqua. Deinde tene ipsum ferrum sinistra 
manu et malleolum dextra, sedeatque puer ante te qui laminam 
tcneat super incudem, et aptet in locis illis in quibua percussurus es, 
sic que mediocriter percutiens super ferrum cum malleolo imple 
campum unum snbtilissimis circulis quanto propius possis conjungere 
unum alteri. Impletis cam pis omnibus in hunc modum pone 
laminam ipsam super prunas candentes, donee percussiones illae 
fulvum colorem recipiant." 

Prints in the maniere criblee ceased to appear soon after the 
beginning of the sixteenth century ; they are very rarely associated 
with either MS. or typographic text, 1 and rep liche of them are of very 
unfrequent occurrence. A considerable number have been coloured. 

1 The author ha* a German MS. book of prayers of the sixteenth century, in 
which two prints of the crible class have been inserted along with i.tlu-r 
engravings, but these prints were of course executed long before their iii-crtiun 
into the MS. For an example in which dotted prints are associated with typo- 
graphic text, reference should be made to B. 2, described hereafter. Further 
details connected with this point may be found in the author's " Introduction 
to the Study of Ancit nt Prints," vol. ii. p. 67. Since that work was published 
(London, 1877) e has been indebted to Mr. F. S. Ellis for the in-|ieeti.,n of a 
copy of Molina's translation into S|mni."li of the Kpi.-tles of St. Jerome, printed at 
Seville in 153 2 m which were two impressions of u print in the dotted manner, 
though they were of inferior tcchnic, and had been budly printed off. 



PREFATORY REMARKS. 53 

These prints rarely deal with any other than religious subjects. 
Such examples as we have seen have mostly proceeded as we 
believe from a German source ; one or two of French origin have 
come under notice. 

During the last decade of the fifteenth century and the first of 
the sixteenth, many of the engraved border cuts, as also some of 
the larger illustrations to those attractive volumes the " Livres 
d'Heures," or Books of Hours, which were published in France by 
Pigouchet, Vostre, Verard, Kerver, and others, had the dark grounds 
of the designs finely crible or dotted white. Some of the beautiful 
initial capitals in the works of Geofroy Tory, and in books printed 
at Lyons, as also a large print illustrating the " Tree of Consan- 
guinity," in an edition of the " Decretals of Gratian" [B. 49,/>o*fea], 
printed probably at that place, had the grounds crible in like 
manner. 

This method of " killing the black " to render the grounds less 
heavy than they otherwise would be, gave a rich and sparkling 
effect to the volume when it was continued through many pages, as 
was usually the case. It may be fairly assumed from the style and 
character of the designs in the " Books of Hours" that these decora- 
tive compositions the best of them at least were drawn and 
engraved by French artists. Some of the later and coarser cuts in 
the Kerver "Hours" may have proceeded from Flemish and 
German workers. These cuts with crible grounds are of course in 
association with typographic text, and it has been very generally 
assumed that they have been taken from engraved wood blocks and 
not from metal plates. 

These circumstances appear on first consideration to militate 
against certain of our previous statements. But it is appearance 
only. It should be borne in mind in the first place that in the cuts 
mentioned the grounds only are crible, there is not any attempt at 
developing the general forms in the " dotted manner," though some- 
what of the style and feeling of the ornamentation of the true ///' 
prints is evolved through the influence of this ground in relieving 
the accessories. 

Secondly, while it must be admitted that some of those cuts 
with dotted grounds appear to have been worked off from wood 
blocks, others have been impressed unquestionably from metal plates 
engraved in a more or less composite manner. 

MM. Firmin Didot and Passavant have urged strongly this view 
of the question, while Renouvier has opposed it. M. Passavant 
remarks, " The books which are richest in ' gravures sur im't.il ' are 
the French 'Livres d'Heures/ or books of prayers, aul tin.-.- 
particularly which appeared at Paris, and belong chiefly to tin- 
XVth century. They contain large compositions, single figures of 



54 PRINTS IN THE MANIERE CRIBLEE. 

saints and rich borders in the style of the manuscript ' Hours y 
adorned with miniatures, and which MSS. these ' Livres d'Heures ' 
were destined to replace. We know not who were the designers of, 
these various compositions, which must be due nevertheless for the 
greater part to miniature painters formed in the school of the 
celebrated Jean Fouquet de Tours, which acquired a great reputation 
in the style produced under the influence of the school of Van Eyck. 
The engravings on metal or on wood treated with much taste are 
in the majority of instances simple contours only, with very slight 
hatchings, the figures being relieved light from off a black ground 
studded with white dots .... One of the oldest printers of books 
of Hours of the French school having the finest engravings on metal, 

in the style of Van Eyck, was Simon Vostre, of Paris The 

editor who after Vostre issued at Paris the finest books of Hours 
between 1497 and 1522 was Thielmann Kerver, a German. In the 
production of his presses the borders, full of fancy and beauty, are 
principally admired. Antoine Verard, before mentioned, published 
between 1487 and 1512 more than twenty-five editions of his books 
of ' Hours/ The ' gravures en metal ' to be found therein consist 
of very slight outlines only, as they were generally destined to be 
coloured after the style in which they sometimes come before us. 

They have become very scarce and of high price We may 

add hero that we find in the engravings on metal of the books of 
' Hours ' the earliest employment of cliches from the original plates. 
In fact, we meet with in certain impressions on white ground, spots 
of ink which have resulted from the circumstance that the ground 
in the cliche was not kept sufficiently deep, or has not been repro- 
duced with the requisite exactitude, a circumstance never the case 
with impressions taken from the original plates" (vol. i. p. 162). 

M. Didot, confirming the statement of Passavant as to the employ- 
ment of modified cliches, observes also, " This practice of engraving on 
copper the greater portion of the subjects intended for the ornamen- 
tation of ' Hours/ is now confirmed by the ' Book of Hours ' of 1488, 
in which the printer, Jean Dupre, thus expresses himself in the 
notice following the Kalendar ' It is the repertory of the history 
and figures of the Bible both of the Old Testament and of the New 
containing therein vignettes of the present Hours, imprimces en 
cuyvre.' ' (" Essai Typographiquo et Bibliographique sur THistoire 
de la Gravure sur Bois," col. 120.) 

This confirmatory volume a small quarto containing twenty 
large plates and thirty smaller ones, independent of the borders 
is now in the Library of the British Museum (c. 35, c). 

M. Bernard in his work on Geofroy Tory, when commenting 
on the Latin Bible in two volumes, folio, bearing tho dates 1538, 
1-M-o, and tho name of Robert Estienno, Paris, remarks, 



PREFATORY REMARKS. 55 

* f The floriated letters which figure in this book are certainly by 
Tory, for we there find the forms praised by him in his Champ fleury. 
A fact worthy of remark is that these letters appear to have been 
cast (fondues) , or at least reproduced by cliches, for they are often 
repeated on the same page without variation of drawing." (Op. cit. 
p. 277.) 

Wessely asserts that " the Illustrations in the French Horaria 
are unquestionably Metalhchnitte" (" Anleitung." Leipzig, 1876, 
p. 35.) 

On the other hand, M. Renouvier (" DOS Gravures BUT Bois dans 
les Li vresde Simon Vostre." Paris, 1862) expresses himself differently, 
e.g. "A recent historian of German engraving who, among his 
novel opinions respecting early art causes engraving on metal in 
relief to play an important part, has been desirous of claiming for 
this procedure the ' Hours ' of Vostre, as also many other books 
of the same kind. For my part, I have not been able to discover 
in these engravings the signs he ascribes to work in relief on 
metal. I have found there rather those which he assigns to work 
on wood, though at the same time I admit that the one and the other 
are arbitrary and deceptive. There is not any necessity then for 
changing the received opinions on this point, nor for discussing the 
tradition of the texts and all the authorities who, in mentioning our 
ancient engravings in relief, understand them only as engravings 
on wood. The most recent authority that we can cite, Langlois, has 
perfectly defined their nature. ' These designs,' he writes, ' executed 
sur bois defil, 1 by the difficult procedure of the point, are in all their 
cut lines and most elaborate hatchings of admirable freedom, deli- 
cacy, and purity.' '' 

To all objections to the belief that many of the cuts with crible 
grounds decorating the " Books of Hours " are from metal plates, 
based on mere opinion, it ia sufficient to oppose the statement (before 
referred to) of Jean Dupre* himself in his " Hours " of 1488, that the 
" vignettes therein " are " imprimces en cuyvre" 



1 " 4 Sur bois de fil,' c'est-k-dire dans le sens longitudinal, que la grarure e"tait 
itee tandis que maintenant c'est sur le bois coupe dans 1'autrc sns, c'est-a-dire 
sur Itoit debout qu'elle s'opore." (Firmin Didot, " Essai Tyi>ographique," etc., 
col. 278.) 




B. i. 

TEN COMMANDMENTS AND THE TRESPASS 

OF THEM. 

LAST QUARTER OF THE FIFTEENTH CENTURY (?). 
UPPER GERMANY. 

SERIES of twenty small prints engraved in the maniere cribltc, illus- 
trating by designs and inscriptions the characters of ten command* 
ments, and the probable consequences of the transgression of them by 
man. 

The designs have been arranged in sequence in five rows of four pieces each 
row, the first commandment beginning at the left hand of the top row. Each row 
thus contains illustrations of two of the commandments, and of the two trespasses 
of them. The engravings have been worked off on a folio sheet of stout paper, 
having a small bull's head and cross for watermark. Each print is rather more 
than 2^ inches high by l inches wide ; within these dimensions are marked off an 
upper and lower margin or border, containing inscriptions in strongly marked 
(iuiliic letters, which are white on a deep black ground. The inscriptions on the 
upper borders are in Latin, and of a single line in extent ; those of the lower 
are in German, of the Swabian dialect, and consist of two lines each. The upper 
and Latin inscriptions of each commandment and its trespass rhyme together, eg. 

(3.) Sabatham sanctifices 

Ne cimices Ucdant flores. 

while the lower two and German lines of each piece are in verse, e#. 

( 1 .) Glaub in einen Gott 
Diess ist das erst Gebot. 

The orthography of the Latin inscriptions is often very imperfect, and the con- 

iently unmarked. 

Tin- limits ,,t' tin > lM>rders are indicated by thin white linen, the lateral one* 
extended to form alonu' with narrow black margins lateral borders, of rather 
les than ,'^th of 1111 indi wide to the print. The remainder of each plate U 
occupied t>\ the design or composition to which the inscriptions relate. 

That the in.-eriptions may be readily understood, two perrons at dill'crent time- 
have transcribed them in the cursive character* of their day above, below, and at 




58 PRINTS IN THE MANIERE CRIB LEE. 

the sides of each priut. The older MS. is of Gothic cursive character, and gives 
both the upper and lower engraved inscriptions ; the writing is large and distinct. 
the ink now quite brown. This handwriting is probably of the commencement 
of the sixteenth century. The later MS. gives the lower inscriptions only, and is 
of modi-rn (Jermun cursive form. It also renders the dialect of the inscriptions 
in accordance generally with that of recent time. 

FIRST COMMANDMENT, a. 1 

'HE first print of the series illustrates the Commandment, "non habcbis 
Deos alienos coram me. Non facies tibi sculptile .... non adorabis 
ea." (Exod : xx. 4.) 

On the right hand is a column on the capital of which stands the 
Golden Calf, before which kneel three persons worshipping it ; by their side stands 
a fourth person, the upper part of whom is wanting from damage this piece has 
received, but which person we presume to be Moses. The background is white, 
with a small amount of frayed work by the head of one of the figures. The ground 
is parqueted in squares, showing five faces or facettes. Not any punctated work 
is to be seen. On the tunic of the erect figure the roulette, cradle or toothed 
chisel has been employed. 

Of the upper (Latin) inscription, the word + adora only can be read on 
account of the damage the print has received. 

The lower (German) inscription is as follows 

gleube + in + einen + got + 
diz -r ist dz + erest + gebot + 

TRANSGRESSION, a. 

and small pearl-like drops of blood descend from a double row 
of small clouds above, on the earth below. A river runs in front, 
beyond it rising a grassy bank on which blood drops have fallen. In 
the immediate foreground are a narrow flowery bank and stones. The 
drops of blood and clonds are relieved by a deep black ground. The technic of 
the banks is mainly punctiform, the water is marked by waved horizontal lines. 
The upper inscription is 

Veniet + ne 4- sanguis + hora. 
the lower 

man 4- brach 4- dis 4- gebot 
daz 4- mere 4- wart 4- blutrot. 



SECOND COMMANDMENT. /3. 

HE design refers to the law, "Non assumes Nomen Domini Dei tui 
in vanum." 

Before a small Gothic chapel on the right hand stands a man 
extending both arms and looking upwards as if making oath. He is 
bare-headed, has a short coat girded at the waist, from which hangs a dagger. 
By his side stands Motes, horned and bearing in his hands the tables of the Law . 

1 On the various divisions into ten commandments of the Law given to Moses, 
see "Dtr Itildercatechismus des Funfzehnten Jahrhunderts, etc., von Johannes 
Geffcken. 1. De Zehn Gebote." Leipzig, 18.55, p. 58. Davidson's " Introduc- 
tion to the Old Testament." London, 1862, vol. i. p. 230. 






TEN COMMANDMENTS. 59 

The background is white, on which is a small amount of frayed work. The 
ground is parqueted as in the former composition. Little or no punctiform 
trrlmic is to be observed ; the border of Moses's mantle shows a line of dots, but 
this only as ornamental in character, not as indicating texture or quality as a 
paiiiHT might remark. 

The upper inscription runs thus 

cvm + male +juraret 4- 
the lower one 

das ander du solt lern 
by got nyt vppig swern. 



TRANSGRESSION. /3 

! ROM a stratum of conventionally formed clouds a type common to 
engravings in the maniere criblee descend large frogs and blood drops 
on the flowery earth below. On the top of the landscape ridge are two 
trees and other foliage. 

The sky is deep black ; the ground of punctiform technic. 
The upper inscription is 

" Rone tune appanietur." 
the lower 

durch swern manigfalt 
regent frosch vngezalt. 



THIRD COMMANDMENT, y. 

25JPHE design bears reference to the law, "Memento ut diem sabhati 
*n 

sanctmces. 

Two men are working on the Sabbath ; one man is felling a tree, 
the other is pruning a vine-stock. Moses stands on the right hand 
bearing tin- tables of the Law. The garden ground is of punctiform technic. 
The upper inscription is 

Sabathum + Snfices 4- 
the lower 

das + iij + ich + dir + Sagcn + 
vier + die 4- heiligen 4- dage 4 

TRANSGRESSION, y. 

K< >M a stratum of conventional clouds descend a number of chafers on 
the ripe corn, which springs up below from the edge of a flowery field. 
The sky is of a deep black, the ground punctated. 
The upper inscription runs thus 

" ne + cinises ledat +Jlorei " 

the lower one 

vm + die + vcrgewe + lies + 
got + kefer die + fnu-lit e. 





6o 



PRINTS IN THE MANIERE CRIBLEE. 




FOURTH COMMANDMENT. &. 

1 HE design relates to the precept, " Honors patrem tnum et matrem 
tuam." 

On a seat in front extending the width of the composition a father 
and mother are seated. A youth standing behind his mother is about 
t > strike her with his right hand, while the father raises his left hand, as if in 
astonishment and sorrow. A daughter standing behind her mother looks passively 
on at the action of her brother. Behind the seat at the extreme right stands 
Moses with the tables of the Law. There is not any punctiform technic in this 
print ; frayed and lined work only are present. The background is white, wit 
a small quantity of frayed work. 

The upper inscription is as follows 



the lower one 



Parents 4- honoret + 

daz 4- iiij 4 du 4 solt 4- leren 
vatter 4- vn 4- mutter 4- ere. 




TRANSGRESSION. 3. 

ROM a line of clouds descend locusts on the earth. The latter bears 
upon it flowers and trees. 

The sky is of a deep black, the ground of punctiform techuic. 
The upper inscription reads 



the lower out 



ut 4 locuttus 4 caras 4- 

es 4 wart 4 gebrochen 
rnit + vyefalter + geroch. 




FIFTH COMMANDMENT, t. 

HIS composition illustrates the commandment, " Non occides." 

In the foreground a man is slaying with a sword a person w)i<> !.* 
prostrate on the earth ; Moses stands behind and between two trees, 
holding up the tables of the Law. 
The background is white, the ground of punctiform technic. The upper in- 
scription is the following 

in-iiiinrm 4 occidai. 
tbe lower- 
das 4 icb dir sage du 
solt nyman dot slagen. 




TRANSGRESSION, t. 

N the earth lie various large animals as if dead. Tho .iky is of a 
deep black, the ground of punctiform technic. The earth bears both 
flowers and trees. 

The upper inscription is the following 

aiutui mortc formicl ; 



TEN COMMANDMENTS. 



61 



l lie lower one 



(lurch dotsleg vngefug 
der schelm dz fych schlng. 



SIXTH COMMANDMENT. . 

| HE design refers to the precept, "Non msechaberis." 

A man and woman are lying togother in bod. Moses stands on the 
left behind the curtain of the couch, and points with the left index 
finger to the commandment on the table of the Law, which he sup- 
ports with the right hand. The ground or floor is parqueted as described under 

l and 2. 
The upper inscription is 




the lower one 



marimoniu + terva + . 

das + vi + du solt + gern 
einss ander wip enbern. 



TRANSGRESSION. 

N a chair within a vaulted room sits a naked man having ulcers on 
several parts of his body. Before him is a person who appears to be 
performing some surgical procedure on the naked man's left forearm, 
which is ulcered. The floor of the room is parqueted. 
The upper inscription reads thus 




the lower 



ne + patiar + ulceru pt va. 

gelust + fremder + wybe + 
kam + plage + dem + lybe +. 




SEVENTH COMMANDMENT, r,. 

1 1 K design illustrates the precept, "Non furtum fades." The impression 
has been placed out of its right position in the sequence, it being 
made to occupy that of Commandment eight. In le.-eribing No. 7, 
however, we remove it to its proper locality the first place in the 
fourtli row. 

To the right on a chest sits a man asleep supporting his head by his left arm 
and hand. ( >n the left is a man opening another chest, from which he is about to 
take money. Behind stands Moses pointing with his right hand to the command- 
ment (in the table of the Law. 

The background is white, the ground parqueted. 
The upper in.scription is 

Nichil + furchtr + 

the lower one 

dz vii + ieh -f dir + bevellic + 
du + solt + nit + stelen + 



62 



PRINTS IN THE MANIERE CRIBLEE. 




TRANSGRESSION, r,. 

SHOWER of hailstones descends upon the ripe corn below. 

The background is black, the earth of punctiform techuic. 

The upper inscription is in part not satisfactorily decipherable, the 
first two words 






ne + seges 4- 
the lower inscription is as follows 



dvrch + stein + vnfug 4- der 
hagel + daz + korn 4- slug 4 



EIGHTH COMMANDMENT. 0. 

'HE design refers to the law, "Non loqueris contra proximura tuum 
falsum testimoniuin." 

The impression wrongly occupies the place of No. 7. 
On the left stands a man raising his left hand as if in the act of 
accusing a person who stands opposite him of having been guilty of some fault. 
The accused appears as if astonished at the accusation. Behind a seat on the right 




hand stands Moses with the tables of the Law. 

The background is white, the floor parqueted, 
to be seen. The upper inscription reads 



Not any punctated work is 



the lower one 



terva juramentu 



dz 4 viij 4 behalt 4 eben 4 
nit 4 false h 4 gezug 4 gebe 




TRANSGRESSION. 0. 

ROM a stratum of clouds above descends a shower of grasshoppers on 
the trees and flowers below. The sky is of a deep black, the ground 
of punctiform technic. 

The upper inscription seems to read 

det mutca ne deliramt 



the lower one is as follows- 



durch 4 meyneyd 4 spiel 
kam 4 heuschreke + fiel 4 



NINTH COMMANDMENT. . 

HE design bears reference to the law, " Non concupisces ancilJara 

proximi tui." 

A young man in hat and feather is coming from the left ; as lie 
passes along he is about to stop to address a young woman Mandiug at 
the doorway -of a house on the right. To the left of the youthful gallant stun* U 
Moses bearing the tables of the Law. 

The background is white with a small amount of frayed work. The ground 
if parqueted. The stones of the house are indicated by punctiform technic. 






TEN COMMANDMENTS. 63 

The upper inscription is the following 

nuquam 4- mecharis 4- 
the lower one 

dzix 4- vns 4- ist 4- geben 4- 
kuschlick 4- zu 4- leben 4-. 

TRANSGRESSION. .. 

HE broad rays of the sun beam down upon the towers and houses of a 
city ; but the sun itself is not visible. The foreground is slightly hilly, 
and bears trees and flowers. 

Much punctated work may be noticed. 
The upper inscription is as follows 

4- ut 4- luce 4- soils 4- utaris 4- 
the lower one 

duzch 4- unkusch 4- ding 

der 4- soue + schyn 4- verging 4- 

TENTH COMMANDMENT. K . 

K^TlIE design is here made to bear reference to the precept, "Si pecuniam 
unit 11:1111 dederis populo meo pauperi qui habitat terum, non urgebis 
eum quasi exactor, nee usuris opprimes." (Exod : xxii. 25.) 

Before a table on the left hand sits an old man acting the part of 
a pawnbroker apparently. A man stands before the table on which he is about 
to place a girdle for the old man's consideration as to its value as a pledge. 
Behind the man who offers it stands his anxious wife. From above is suspended 
horizontally a bar, on which hang a girdle and necklace. Behind the usurer, 
seated at the table, stands Moses with the tables of the Law. 
The background is white, the. floor parqueted. 
The upper inscription is 

usuram 4- vita 4- 
the lower one 

dz. 4- . ich 4- dir 4- gebiet 
Wach' soltu 4- nyet 4-. 

TRANSGRESSION. K. 

JN the ground lie three persons, two of whom are dead, and the third 
seems dying. Trees crown the summit of the ground above them. 
There is much punctated work. The sky u white. 
The upper inscription is as follows 

ne 4- moriarit 4- ita 

the lower one 

4- dnreh 4- wucher 4- not 4- 
4- kam 4- der 4- gehe + Dot 4- 



In the series of prints which hu-i been described all varieties of the te. Imir 

>n to the iii'iniiri crilili-r liave Keen jr:i-i \-\-<\. Kilt in vuriablc aiiioiinl. I>M 

In some |imietifi.rin work i.s (uiito absent. As a rule t< which 

there are one or n\ o c\ei-|)tiniis, the liaekyroiuul ut' llic designs illustrating the 

C(iiuinainlinei:;> thein.-el\ es are lel't white, \vitli lieru and there a small .. 




64 PRINTS IN THE MAN IE RE CRIB LEE. 

scratched or frayed work, to break the sameness of their surface ; while the back- 
ground of the designs referring to the transgressions are of deep black colour, 
from which the "plagues" are detached white. As all the pieces have been 
coloured, however, the originally white parts are variously changed in hue. The 
colouring has been conducted rather carefully, that is to say, relatively to the 
practice of the time of its performance. 

The drawing and proportions of the various forms are of a mediocre character. 

From a German catalogue of an " Antiquariat Biicherlager" which notic-> this 
sequence of engravings the following is extracted : 

" Architecture, trees, costume, and in particular the folds of the draperies, 
ftnint to an early period of production, while the same may be stated of the 
German rhymed text, which is printed in deep gothic letters, white on a black 
ground. This text, which is of Swabian Alemanic character, is linguistically very 
remarkable ; from it the series of prints may be presumed to have had its origin 
in the country between Basel and Strassburg, and certainly not after the year 
1 450 .... The present is as yet the only known example of the series, and has 
not been described hitherto by any Bibliographer nor Historian of Art." (" Catalog 
cxxix. von Fidelis Butsch Sohn." Augsburg, 1877, No. 288.) 

We should consider the time (before 1450) here assigned for the production 
of these engravings as too early, and should assign it rather to the last quarter of 
the fifteenth century. 

It may be interesting to compare with this exposition of Ten Commandments 
another one under the division of woodcuts (D. 106). 

[2f X if in.] [Coloured.] 

B. 2. 

A "PASSIO CHRISTI "EIGHT LEAVES FROM. 

CIRCA 1460. 

BAVARIA (?). 

(No. 338, WEIQEL).' 



fragment of a " Passion " consists of the following designs : 
The Bearing the Cross ; The Nailing to the Cross ; Christ on the 

Cross with the Virgin and St. John ; Christ on the lap of his Mother ; 

The Entombment; Christ in Limbus; The Resurrection; Chri>t 
appearing to Mary Magdalene. All have been executed in the nianiere criblte. 

PLATE I. 

THE BEARING THE CROSS. 

'HIM ST advancing towards the right bears the Cross on His left 
shoulder. Simon of Cyrene behind, supports the end of the Cross with 
both hands. A soldier advancing before our Lord pulls Hun by a cord 
fixed around our Lord's waist. On the left hand behind Christ, and 
above Simon of Cyrene, is a soldier in a coat of mail, who strikes our Lord on 

1 This and following like n-t< n nccs have relation to "Die Anfan<_T d.-r 
Dnickerkunst in Bild tind Schrift," etc., von T. O. Weigel und Dr. Ad. ZCM.T- 
iii:mii. Leipzig, 1866. 




A "PASSION." 65 

the neck with the handle of an iron mallet. Our Lord has a cruciform nimbus 
and crown of thorns around His head, Ills hair is long and falls upon the shoulders, 
ami t lie mantle is long with loose sleeves. 

The background is black adorned with arabesques in white ; behind the figures 

are rocks and two trees. The Cross is worked out by means of large white dot* 

j round of much smaller punctations, its edge being slightly hatched. The 

trunks of the trees are indicated with diagonal lines, and the foliage with small 

horizontal lines, white off the deep black ground. The drapery on our Lord 

;. out with large and small white dots, while in the dress of the attendants 

1 and scraped work may be seen. A mixture of punctifonn and scraped 

teehnie may be observed in the foreground and elsewhere. At the upper right 

hand, and lower left hand corners, are the marks of the holes through which the 

original plate was fixed to the block. 

Tin- execution is sharp and defined, and the impression has been worked off 
black and clean. Such colouring as is present is but imperfect. The Cross, tree 
trunks, nimbus, and the borders of the tunic of a soldier are yellow ; the foliage, 
coat of Simon of Cyrene, and the wreath of thorns are green. The tunic of one 
soldier is madder brown, and some of the naked parts of the figures are of a pale- 
lour. 



PLATE 2. 

T1IK NAILING TO THE CROSS. 

i HE Cross lies diagonally across the composition, its foot reaching the 
left lower angle of the design. Our Lord is extended upon it while 
three men drive nails through His feet and hands. A cruciform 
nimbus is over Christ's head, and a wreath of thorns around the brow, 
the head being inclined towards the right hand. A narrow, close-fitting peri- 
zonium is present. The body is meagre and attenuated. 

The background as high as the top of the Cross appears like a bank of flowers, 
above this is an arabesque detached white from off a black ground. The Cross is 
worked out technically with parallel waved and broken lines, the flowers amid the 
grass and of the trabesquea are white dots, and the draperies are of puuctifonn 
technic. 

The grass and crown of thorns are coloured green ; the Cross, nimbus, and hair 
of the executioners are yellow, the dresses of the latter madder brown. 



PLATE 3. 

MKI-I <>\ I UK CROSS WITH TICK III.KSSKD VIRGIN AND ST. JOHN. 

'UK Cross with the Crucified occupies the centre of the composition, 
iidmg by the extreme limit* of tin- former to nearly tin- entire 
length and breadth of tin- design. On tin- right lutnd -ide of the 
mdg Mary, on the left St. John. <'hri-l h:i- over the lu-ad a 
nimbus and wreath of thorn-, one end of the |.eri/onium tlnttets to tin- left of the 
Our Lord's head i- in. -lined over Hi* ri-.dit -boulder: death appears to 
have en-ned. The P.le--, -d Virgyi with elas|>ed hand- regard- her Son with |.iM. 
She is elad in lom_r and full drapery, -.me of whi- r the head. ' 

the latter i- a nimbus having an inner eirele of " goiittes d or." 

i -hn stands with averted fa. e and looking down. Hi.- left hand IB rawed, 

F 






66 PRINTS IN THE MANIERE CRIB LEE. 

his right holds up his mantle, which is full and flowing to the ground. The nimbus 
above the head is similar to that of the Virgin. 

The background is diapered with lozenges containing four-leaved roses, the 
work being white from off a black ground. The Cross is worked out with large 
and small jumctatitnis, the perspective edges being hatched. The draperies are 
dotted and frayed, the inner discs of the nimbi are black with the circles and 
drops white. 

The Cross and nimbi have been coloured yellow, the mantle of St. John 
madder brown, the tunic green. The foreground is green. At the lower right 
hand corner of the impression is the mark of a hole. 

This is the best design of the eight illustrations, and is of careful technic. 



PLATE 4. 

CHRIST ON I in LAP OF HIS MOTHKB. 

N the centre of the composition sits the Blessed Virgin, bearing the 
extended body of our Lord on her lap. The head of Christ is towards 
the left hand, Ilia left arm is held up by His mother, while the right hand 
has fallen to the knees. A nimbus and wreath of thorns are around 
the bead. The Virgin looks tenderly down upon her Son ; her long and full mantle 
falls over her knees beneath our Lord's body to her feet and over the ground. 

On the left stands St. John, kneeling just sufficient as to be able to support our 
Lord's heat! upon his knees and his right arm. On the right hand kneels St. 
Mary, the mother of James, looking down on our Lord's body and raising both 
hands as if in sorrow and surprise. The nimbus over the head of Christ is cruci- 
form, the nimbi over the other figures have white ornaments on black . discs. 
Above the head of the central figure of the group rises the Cross, having the label 
of inscription at its top. On the stony foreground are bones and a skull. The 
background exhibits arabesques in white from a black surface. The technical 
expression and execution of the foreground are of inferior character. A striking 
feature in this piece is the use which has been made of a bright opaque azure blue 
in the mantle of St. John, and in the ornaments of the background. AtoppCMtt* 
diagonal corners are marks of circular holes. 



PLATE 5. 

THE ENTOMBMENT. 

the foreground is the tomb extending across the entire breadth of the 
composition. St. John on the left hand supports the head and shoulders 
of our Lord with his right arm, while Nicodemus on the right supports 
the feet. In the foreground, and stooping over the tomb, is Joseph of 
Arimathiea, his back towards the spectator. He appears to support the bod\ of 
the Crucified by the hips. These persons gently deposit Christ's body in the toinli. 
while the Virgin in the middle between St. John and Nicodemus bends over 
and gazes on it with anxious look. 

It should be observed that the crown or wreath of thorns does not appear on 
our Lord's head either in this design or in any of the subsequent compositions. 
In the present event and the following ones Christ conies before us as having pa rd 
through the Pas-inn and Sacrifice, and aa now conqueror over Death. Above the 
tomb and group of figures rises the Cross with its inscription and extending its tr:m>- 
ver*e limb over the entire width oft lie print. 





A "PASSION." 67 

The general design is good and some of the details deserve comment. The 
nimbi are of an ornamental description; Nicodemus is without a nimbus, his head 
having a tonsure ; the head of Joseph of Ariinathaea is covered with a hood, 
tin- tail of which reaches to his knees. The tomb is of a Gothic character; the 
background is enfloriated, and the foreground is marked with a chequered pave- 
ment. The technical execution of the Cross and draperies is like that in the pieces 
already noticed. The nimbi and mouldings of the tomb have been coloured 
yellow, the foreground and panelling of the tomb are green, and some of the 
draperies and arabesque flowers on the background are of madder brown colour. 
At the upper left hand corner is the mark of a circular hole. 



PLATE 6. 

THE DESCENT TO I.IMIU s. 

HRIST has entered the confines of Hades. He stands in the centre 
of the composition directed towards the left. His left leg is bent, the, 
foot resting on the broken up door of the purgatory, and which lies 
in the immediate foreground. In our Lord's left hand is the cross 
and banner of victory ; with His right He grasps the wrist of Adam, whose arm 
is raised nearly as high as his chin. Below and beneath Adam kneels John the 
Baptist, with shaggy garment and leafy girdle ; between these two figures and by the 
side of the upright support of the roof of the purgatorial prison may be perceived 
the head and chest of Eve. To the left and between the supporting uprights of the 
roof is a demon ejecting flames at Christ. Flames ascend from above the head of 
A* him and the roof of Limbus. The background behind the figure of Christ is 
enfloriated above, and rocky below with punctiform work. 

The girdle of John the Baptist and some of the arabesques of the background 
are of a green colour; yellow and madder brown are present elsewhere. At 
opposite corners diagonally are marks of circular holes. 



PLATE 7. 

THE RESURRECTION. 

ACROSS the middle of the design is placed the open tomb, the cover of 
which is on the left hand, protruding half of its surface from the 
sepulchre. Christ rises from the middle of the latter, stepping out 
with the right foot; He elevates the right hand in benc<lictin, and 
ln>lds the cross and banner of victory in His left The drapery has fallen from 
the right shoulder of the Saviour, but conceals entirely the left shoulder, arm, &c. 
In the foreground directly before the tomb are two soldiers semi-recuinbent 
and asleep. Hy one lies a parti/.an, by the other a long naked sword. The 
soldier on the left hand is in iirmnur, the other one has on a jacket and flat < .ip. 
In the background on the left above the cover of the tomb are some trees; the 
rest of the background is enfloriated with arabesque*. 

The colours present are yellow, green, and madder. At the upper right hand 
on nrr is the murk of a circular hole. 





68 PRINTS IN THE MANIERE CRIBLEE. 



PLATE 8. 

CHRIST APPEARING AS A GARDENER TO MART MAGDALENE. 

|X the right stands our Lord, who raises His right arm, extending the 
fingers as in benediction over Mary, who kneels on the left. Christ's 
left hand rests on the handle of a spade, the blade of which conies 
down to the lower right hand corner of the composition. Our Lord 
has a cruciform nimbus and full drapery, but permitting the right shoulder and 
both feet to be seen. Behind the two figures, and at the height of Christ's hips, 
a wattled fence runs across the composition, behind which on a hill and over the 
head of Mary is a tree, while to the right of Christ rise the cross and banner of 
victory, the latter floating towards the left above our Lord's head. The fore- 
ground is grassy and flowery ; the background enfloriated with arabesques. Over 
the head of Mary Magdalene is an ornamented nimbus ; she is clothed in tunic and 
mantle, and her long hair flows down her back. In her left hand she holds the 
alabaster pot of precious ointments, and raises the right as she looks up anxiously 
towards Christ. 

The tunic of Mary, the foreground and tree foliage have been coloured preen ; the 
mantle of Mary, the banner and arabesque flowers of the background are of madder 
brown; the fence, trunk of the tree, spade handle, and circles of the nimbi yellow. 

On the verso of each print which has been described are fourteen lines of early 
German typographic text, the type of which resembles in a general way that used 
by Pfister, though it is somewhat less primitive in character. The letters may 
be considered as small, fine, and sharp missal letters, somewhat like those of the 
Bible of the year 1460, of thirty-six lines. There has not been any crowding 
in the typographic composition, and the impression is distinct and clear. 

On the rer*o, print No. 1 (the Bearing the Cross), is the following text 






2Dpt0 ofOntflflct tui 
antlttn tmcrra ijrtfl 
mote fcaa Da ecmic&t tot pit 
ein tone tiircfo una ist gcce 
ben tier fratoen tjeranice 
ttircii natchcn Her lieb h 
faca antltic; crian the on 
pia uno ein trout tint) ein 
rtqiiulnmc unU ein etcbcrc 
btlf Ha0 una nil ccbatjcn 
prince tiea teufels occpcnt 
ti.ia rtnr prauchr n Der etoic 
en rtor unU tirinr a antlun 
npmer toereeaaen amen. 

The above text refers of course to an illustration of the Holy Sudarium or 
Veronica Cloth, not here present. Tins illustration must have stood on the left 
hand side opposite to the text, i.e. it was on the verso of the previous leaf of the 
sequence. Hence our engraving No. is on the verso truly of the leaf. Tin- is 
r\i<lent from the condition of the paper, which latter is discoloured and sonu-wlnit 
greasy on those margins fingered by the hand in turning over the leaves of tin- 
book. The other leaves have the text on their versos the text relating <<> tilt- 
following and opposite illustrations. This arrangement would seem to liavc lu-ld 
good for the second half only of the complete sequence. In the first half the 
leaves of which are here wanting the middle of the book being formed by our 



A "PASSION." 69 

piece No. l, the type was on the rectos, and the illustrations were on the versos of 
the leaves. 

On the verso of No. 2 is the following text 

3D Bu tounoamo pauer un 
ter Bern al Bein rite fcreftie 
tub toccbtrn toie car bcrno 
lid) piutu oectorbcn an Den 
calcen nee hnltcrn crcuc;e0 
unB mir taut? cum epracbet 
toater in Bein brut enpbilcb 
ich meinen crtgt unn aI0o 
t)criKbi>nc0 tu Ha Iteber her 
lac Hem pitre marter unto. 
crnicucunG an mir armen 
eunnrr nL'incr Dloren toerBe 
unB inch Hiorm If ben gib 
unc Da0 etoic Irfarn 9men 



The above text refers to the illustration No. 3, on the verso of which is printed 

SDHto ctoiocc Icfacn ibcou 
ciijste D? Hurcb Hca mcnccbc 
bail unn toiner pringune. 
cine o ucrocbmrcbtrn pitrrn 
toDee ereterben rooI0t unn 
Uar nacb toon Hen crcttc?r . 
priuimrn unH tinner liebe 
mueter pn pr beiliee 0cbo0 
celeet toar0t unn Hicb ieme 
(icb mit Qro00em ocbmcrc?n 
an oacb D liber her icb pite 
Hicb nurcb Hcinf librn nnic 
trr leiHen toiden mir c> to 
oeben nas ctoio leben am? 

The above text relates to print No. 4, which bears on the verso the following 
inscription 

T liber ber tbccu criote n to 
ccplrt jri't tooI0t Hu in ein 
neiu0 crab Qefect toerHen 
unn to Hen fratoen pcclact 
unn ge0albt toeHen unn too. 
Hen rittern pebuct toernen 
pep Hem crab. Alao liber brr 
ibe0u cri0te toleicb mir amen 
cunnf Ha0 icb Hicb peorab i 
mein bercjen unn Bern buet 
Ha0 icb Hub npmc auf mrm 
berc^en toclieoen muce oun 
Her Hicb alc;eit mucco loben 
in Her tritoalticftart amen 

The above bears reference to print No. 5, on the back of which mv U- 
read 

3DHu Konic Her ercn true oi 
mit crooocr macbtr unn $t 
toalt p-0tu bomnt fucr Hie 



70 PRINTS IN THE MAN I ERE CRIB LEE 

brllcn unt bact cm -procbrn 
tie pfortcn Brr brlliorn 
furotrn unt baot Bar auf or 
nomrn Die altueter Die Da 
toil iar auf Kiel) eebart babfr 
unt bact op mit tir crfurrt 
pn Bao rtoic leben 8I0o lie 
bci bet r rlor o micb armcn 
cunBe too" alien meinan 0D 
trn unB tor Dei beiDamnue 
Her etoigen pepn 



The above text refers to illustration No. 6, Christ freeing the Holy Ones from 
Lirabus. On the verso of this illustration is the following 

T Itebet ibrou tricte aI0 
tin ftrrfncUicbrn piot cratan 
Hen an Dem Britten tag to 
Dem toDe unD bct erochinc 
trine r lieben mueter unB 
mail mane aucb Den anDRj 
teinen lirbf iunccrn unt 
0i erfretoe0t aI0 Du cpracbot 
Der fnB ori mit eucb. 9100 
lirbf bet lao micb alco 
cfrrrnrt torrBcn an Dem* 
jung0ten tao unD eib uno 
nacb Bicrin leben in Deine0 
bat! reicb tao etoic leben S 

Reference is made in the text above to Print No. 7, the Resurrection, on the 
verto of which occurs the following inscription, bearing reference to Print No. 8 

S) liebei ber ibe0u cri0te hue 
gar riarmbmniGlicfe pist u 
cnocbinc marie mactalrne 
Di Bicb jjurcbt unt mit fto0 
pflicbrr 0alben Bicb prpcrtr 
?ro 0alben unD mit Brinrr-- 
barmbercibait ii tecab0t a! 
ir cunt unt 0pracb0t macBa 
Irna furcbt Bicb nit ub pin 
tbe0u0 taumb 00 cr un cao 
pctro unt meinen junprrn 
ttn ba0t ce0ecben ten t>eil 
a!0o Iibi brr (jib tao icb Bicb 
rroicftlicb mrocr crbrn am? 

On the verso of No. 8 is the following text, bearing reference to the print of 
the Ascension, not here present 

2D liber brr ibrou cnotr alo 
tto nacb teincr beilicen bt 
0rrnt in anceoicbt Briner Ii 
bn muctf bnB Itfarn bnfio 
piot auf ccfarrn in Bi bimcl 
unB cicjeat ?u tf rrcbtrn^ 
bant Brinro bimliocbrn ba 



A "PASSION." 7l 

tcro unti baot tobe tounijcn 
alle Uein not. 9(0o lib; her 
hilf Da0 totr armr eunnigr 
mrnocbrn aucb alco tober 
toinfcrn all unorr not tonD 
naeb Dion leben mit Bit be 
citnr Ua0 ctoifl lebrn am? 

Each print which has been described measures 4 inches in height by 3 indies 
in breadth, which size includes a very narrow border formed by white and black 
lines. The typographic text on the versos may be stated to be contained within 
these limits, the lines ending very irregularly, an evidence of the early execution 
of the work. Each leaf is provided with a margin of plain paper beyond the 
rnjM-avinjr and text. This margin is of unequal width at the top, bottom, and sides; 
the greatest width occurring being ths of an inch, the least rather more than |tb. 

The paper is firm and good, and a part of its watermark, a bunch of grapes, 
may be observed at the top of Print No. 1, over the mark of the hole through 
which the plate was fixed to the block. 

In connection with the series of which this fragment of a Passion formed a part 
there arise some important and interesting considerations. In the first place it 
may be remarked that the presence of typographic letter-press in association with 
engravings in the muniere criblee is of very infrequent occurrence indeed. 

Secondly, neither MS. or xylographic text is to be met with but rarely 
associated with prints of this particular character. 

In the third place, repliche of such engravings are uncommon. Yet here are 
eight prints in the large dotted manner forming but part of a work on the 
versos of which is text printed from movable metallic type. 

Further, this fragment previously in the cabinet of M. Weigel agrees closely 
with a Passion described by Franz Xaver Stb'ger, in a work entitled " Zwei der 
iiltesten dentschen Druckdenkmaler." Miinchen, 1833. 

This Passion, it may be remarked, bad been already noticed by Dr. Dibdin in 
his account of the books in the library at Munich, given in the third volume of the 
"Bibliographical and Antiquarian Tour, &c.," p. 280. London, 1821. 

The Munich "History of the Sufferings of our Lord" is bound up with 
another little work, entitled on the binding of the volume " The Seven Joys of 
Mary." Neither tract, however, has itself any title, address, or inscription, 
i work is quite independent of the other ; the type is not quite the same in 
both, nor is the technical execution of the engraving in each work, though after 
the muniere criblee, of precisely a like character. (Stiiger, op. cit. p. 9.) 

In the " Seven Joys of Mary " there are eight illustrations and five leaves of 
letter-press, a facsimile example of each of which has been given by Stogcr, as 
also a page of text and. an illustration viz. "Christ's Kntry into Jerusalem," 
from the series of the Passion. A copy of Judas betraying Christ in tin- latter 
work accompanies Ur. Dibdin's observations. 

Weigel observe* 

"Our fra: lit closely accords as respects the contents of the text and illus- 
trations with the Passion described by Singer. Nevertheless, tin- arrangement of 
tin- latter :iml text, as also the type of the text, are different. The example <>f the 
llo\al Court Library at .Munich. l>nui'_'lit I" notice : - ha. tlidir-t l.-at ini- 

pre^eil only mi t lie M side, with the representation of Cliri-t'- entry into Jerusalem ; 
the -eeond leaf has text mi both >iile> : tlie third leaf has illustration* on Ix.tli - 
ami thus alternate always a leaf with two sides of text and a leaf with two illustra- 
tii.n<. The text always stands opposite iU coirespoinlin^ illu-trntion, the first 
time mi the right, tin- second time on tin- left side, and so on." < otnpare Stoger, 
a. a. O. S. 1 8.) 



72 PRINTS IN THE MAN I ERE CRIB LEE. 

" . . . . St(irer certainly has in his ' Two of the Oldest Memorials, &c.,' so 
described the designs of the Passion and given the text so completely that not 
any doubt can be entertained that onr Passion and that existing at Munich are 
but different editions of the same work. Nevertheless, his description of the 
illustrations of the latter is either not BuHiciently minute, or the designs of the 
Munich Passion are yet somewhat different to those of our own series. In like 
manner the text of the Munich Passion presents some peculiarities which we 
cannot pass by, since Stiiger assures us that he has given it accurately." 

As the variations of the text in the two editions, the abbreviations and con- 
tractions, &c., have been already fully described by Weigel (op. cit.), it is unneces- 
sary to repeat them here ; suffice it to state that Weigel concludes his account 
with the following paragraph 

" From the comparison thus far instituted, there cannot be any doubt that the 
Munich Passion contains a like conception in the designs and like words in the 
text as does our own fragment. We must assume consequently that one and the 
game work lies before us in both Passions." 

Accordingly we may take for granted supported by Stoger's communication 
that we are wanting in nine illustrations at the beginning, viz. those of the subjects 
of the Entry into Jerusalem, of the Last Supper, Gethsemane, Christ taken 
Prisoner, Christ before Caiaphas, the Scourging, the Crowning with Thorns, of 
Christ before Herod, and of the Sudarinm, and also deficient of three pieces at 
the end, viz. the Ascension, the Effusion of the Holy Spirit, and the Last 
Judgment. 

In this enumeration of these two versions or editions of this Passion in the 
muni ere criblee, associated with typographic text, the interest of the subject is not 
by any means exhausted. From the example to be described next (B. 3) it may 
be found that these prints illustrated a third typographic edition. Moreover, it 
has been shown that they were used to adorn a MS. supposed to be of much older 
date than that of any of the printed editions. 

In the year 1869 the Bibliothcque Imperiale at Paris became possessed of a 
MS. containing towards the middle of the volume two engravings in the maniere 
criblt?, " Christ bearing the Cross " and the " Sudarium." The date of this MS. 
was assumed to be of the year 1406, to have been written in Germany, and it was 
considered that the engravings had been printed off on the pages before the latter 
had been written on in lieu of being pasted on the MS. paper after it had passed 
through the hands of the scribe, usually the case in analogous circumstances. If 
such were the real facts, here then was proof positive that impressions from 
engraved metal plates were taken within the first decade of the fifteenth century, 
and here also were two impressions which had been then taken. 

As soon as the writer of this catalogue had an opportunity of examining the 
prints obtained by the Museum from the Weigel collection, he discovered that one 
of the prints, " The Bearing the Cro>s," in the Weigel Passion now under con- 
sideration, was in design, technic, and size almost identical with the facsimile of 
tin 1 print of this subject in the Paris MS. given by M. Henri Delabordc, in his 
interesting " Notice sur deux Estampes de 1406, et sur Irs Commencement* de la 
Gravure en criblo," "Gazette des Beaux- Arts," Paris, 1869 (onzieme annce, deux- 
ieme periode, tome premier, p. 238). It appeared to him al-o on a Mil>-c<picnt 
examination, that the second print, "The Sudarium," illustrating the notice in 
question, answered closely to the description given by Stiiger (op. cit. p. 68) of 
the design of that subject to be seen in the Munich Passion. Here then appeared 
similar engravings in the maniere criblee in a MS. assumed to be of the date 1406, 
in the Munich Passion u--ociat< d with letter-press type of early character, and 
in the fragment of the Weigel Passion in union with typographic text much after 
the character of the work of Pfister at Bamberg. 

It \\ould l>e impossible to determine positively whether the impression^ in 
the three works referred to have been printed off from the same plates, or from 



A "PASSION: 



73 



close copies of a common original without having all three versions to compare 
side by side. Hut judging from the description given by Stb'ger of the print* in 
the .Munich Passion, from the examples of the Museum fragment, and from the 
copies which accompany the paper by M. Delaborde, we conclude that all the 
prints in question are originally from the same plates. In stating this much we 
have not lost sight of Weigel's remarks as to certain discrepancies between 
St tiger's account of these designs and the details of our own fragment. But 
these discrepancies appear to be due rather to incompleteness of description than 
to anything else. That which has been described by Stoger agrees with that 
which is present in the eight compositions of the Museum fragment. 

It is quite possible that plates engraved and printed from by the year 1406 
(assuming for the sake of the argument that this style of work was practised) might 
be used forty years afterwards to adorn a then just printed book. Hut it may 
be asked, Are the grounds on which the assumed date of the MS. are based quite 
satisfactory ; and is the MS. entirely without any such flaws as would make one 
Iie-itate in accepting M. Delaborde's conditions? To both these questions we 
should reply in the sense that the MS. of the Bibliotheque Impcriale is not tans 
peur et sans reproche. The why and wherefore of this belief have been given 
already by the author of these pages in his " Introduction to the Study and 
Collection of Ancient Prints," vol. i. p. 30, London, 1877; therefore we will 
add here only the following quotation from M. Delaborde's Memoir in the 
"Gazette des Beaux- Arts" 

" Among the extracts from various works and instructions on different subjects 
of which this collection (the MS. volume) is composed, may be found on page 1O 
calculations of the lunar phases followed by a table of years, hours, and minutes 
at which these periodical phenomena should occur. It should be observed in the 
first place, that the date 1 394, which figures at the head of this table, has been 
written with black ink, while the lines following from the date 1413, have been 
traced in red ink, as though the copyist designed to make a distinction between 
the years already elapsed and those yet to come. Further on the same page 
(line 10) these words may be read: Quod erit anno Domini 1413; and further 
on (line 26) donee elabentur 1413 anni." 

To this M. Delaborde adds the following note 

" In the first of these two members of the phrase, it is true, the date 1413 
is thus written: \#~\\ which implies 1473. But there is here evident a lap- 
tut calami, since the date thus figured is according to the words themselves of 
the text, that which results from the number 19 added to 1394, i.e. 1413 
I > mini, 1394 .... post elapsum 19 annorum quod erit anno 
moreover, in this table written in black and red ink, of which mention has l>ccn 
made and which indicates the lunar cycles, these four figures 1413 are written 
equally plain, as in the phrase Donee elabentur, etc" To return to the text 
itself. 

Here then is a starting-point, a first presumption at any rate. The date of 
the MS. ought to correspond to some year included between the year 1394. in- 
.-crilird first on the list, and the year 1413, which these words erit and elabrntw 
sL'nalize as belonging to the future. Now how may the exact time in this period 
of nineteen years be discovered and determined? It is here that the ecclesias- 
tical kalendar placed at the beginning of the collection should be consulted, and 
from calculations agreeing with the combinations it presents should be sought tin- 
solution of the problem. Unfortunately, something oft ncc with which 
many words have been transcribed in the body itself of the work may be found 
from the first line in the arrangement of the kalemlar : in this way from the read- 
ing of the hitter atr.>nlin_' only an absolutely unreasonable result, if this tir-t line 
b" taken as it actually exists as the point of departure in the computation, one 
is necessarily obliged to try the second line, and consequently, remonter ** 
cran in reading the whole of the table. Certain material indications which are 



74 PRINTS IN THE MANIERE CR1BLEE. 

present allow of the supposition that such was the personal intention of the 
copyist. In fact, did he not intend to indicate as much in beginning to write in 
a supplementary column a second series of years of the golden number, where 
the first year of this number is en rapport with the 15th of the solar cycle, that 
which i- proper to the year 1406? But he stopped in this work because he 
became aware that it sufficed to take away a line from that part of the table con- 
taining the solar cycle and the dominical letter to place the table en rapport with the 
original golden number. If then the copyist has not corrected, or has half cor- 
rected only the error committed at the outset, it is because he possessed the 
secret of the modification to which the table should be subjected, in order that 
he might use it without being condemned previously to the tiresomeness of re- 
commencing it from one end to the other ; it is because he designed for his own 
use only the documents which his pen had transcribed tant bien que mal; in fine, 
it is because he went to work as a man who, not labouring for the benefit of 
others, does not take either the time or the trouble of explaining to himself the 
mysteries to which he has the key, nor of repairing very carefully the mistakes 
incapable in reality of compromising anything in his eyes." (Op. cit. p. 239.) 

Now we cannot help feeling that a MS. of which such admissions must be 
made is one the evidence of which in support of the opinion that the prints in the 
maniere criblee were engraved and printed from by the year 1406, is of too 
doubtful a character to be accepted. 

[4x3 in.] [Coloured.] 



B. 3 . 
CHRIST ON THE CROSS. 

CIRCA 1460. 

BAVARIA (?). 

(No. 339, WKIGKL.) 

REPETITION of the print No. 3, described in the foregoing account 
of a " Passion." This impression is evidently from the same plate as 
yielded the impression of the like subject in B. No. 2, but it must have 
illustrated a different edition of the entire work, and one differing from 
the Munich Passion also. 

On the verso of the print are fourteen lines of typographic text, generally the 
same in type and words as on the like piece in B. 2; but nevertheless exhibiting 
certain variations which demonstrate that the leaf formed part of another edition. 
For instance, the eighth line of the present example reads, Mueller in ir heilige 
ichos, while that of B. 2. runs, Mueter yn yr heilige schog. The thirteenth line 
concludes with mir czw ge instead of with mir czw, as in B. 2. The la-t word of 
the fourteenth line is here amen ; in B. 2. it is amc. 

The marks for contractions over the e's in the second line are different iVmn 
those in B. 2, while in the latter there are full point- at the ends of the thinl ami 
sixth lines, which points are absent in B. 3. Other slight variation- in 
observed, but those indieated are sufficient to show that part of a different <lition 
is before us, apparently printed from letters of the same fount or from the -ame 
type, after the latter had suffered from employment, -ince the letters are in B. 3. 
generally either blunter or thinner than they are in B. 2. 

The impression itself is sharper and more perfect than that of B. 2. It has 




CHRIST ON THE CROSS. 75 

been coloured in a slightly different way to the other example. Here the loin cloth 
of our Lord is of deep yellow ochre colour, in B. 2. it remains uncoloured. The 
mantle of our Lady is here of a bluish grey with light pink lining; in H. 2. it is not 
coloured. The mantle of St. John is here of a light pink hue ; in B. 2. it is of 
brown madder colour. In the present impression there is a deep red coloured 
border around the plate mark ; in B. 2. the margin remains uncoloured. 

It would appear that in the well-known collection of Weigel at Leipzig there 
existed two prints of this Passion, B. 2, which must hare belonged to an edition 
yet different from any of those to which reference has been here made. In connec- 
tion with these specimens Weigel remarks 

" Under No. 340 we possess two prints, 6 and 7 the Descent to Limbus and 
the Resurrection of the Passion before described No. 338 ; yet they must have 
belonged to another edition, since they have not any text upon their backs. The 
Descent to Limbus is coloured as follows : the glory, the staff of the banner, the 
doors and house of Limbus, and the hide garment of the man kneeling are of pale 
and dark yellow. The flames are of a pale carmine red ; the ground, the ara- 
besque flowers, and the upper bands on the banner cloth are of a powerful green 
colour. In the piece of the Resurrection the ground, the trees, some of the 
trefoils on the tomb, some arabesque flowers, and the upper bands of the banner 
cloth are of a strong green colour, while the cover of the tomb and the upper 
border of the tomb are of a rose-red, the tree stems, the glory, and the banner 
staff, as also some flowers being of a yellow colour. These tenderly coloured little 
print.-, which are of marked sharpness of impression, belonged probably to those 
examples which were first brought into circulation." 

[4x3 in.] [Coloured.] 



B. 4. 
CHRIST ON THE CROSS. 

CIRCA 1470-1480. 

ULM (P). 
(No. 392, WKIGEI,.) 

kROM a heap of stones in the middle of the foreground rises the Cros*, 
the scroll of inscription at the top of which touches the upper bonier 
line of the composition. Our Lord is dead; His head falls on His right 
shoulder and covers a third of the arm. A wreath of thorns is around 
tin- brow, and a cruciform nimbus over the head. The loin cloth is narrow and 
without visible ends; the fret are -r.--i-l. Tin-re is not any suppedaneum. 

( )n the right hand side of the Cross the Blessed Virgin is seated ; on the other 
si le is St. John. The former has the hands crossed upon the knees, while the 
latter turns towards her, niUini: his hands as if in the act of addressing her. Orna- 
mented nimbi are around the heads of both. 

The en t in; baekground is diapered or chequered with (relatively) large rosettes 
within lozenge-shaped forms. The technic of the Cross and of the stones is of the 
dotted character, that of tin draperies and of the body of Christ of frayed and 
lined work. 

Some colour has been applied. The wounds in the hands, feet, and -i.le are 
of a dingy carmine, a* are al<> the irn< iiurni parts of the nimbus. The body 
piece of the tunic of the Virgin and part of the mantle of St. John are of much 





76 PRINTS IN THE MANIERE CRIB LEE. 

the same colour. The stones at the foot of the Cross and the ground are of a green 
hue. A narrow black border line includes the composition. 

[4 x 1\ in.] [Partly coloured.] 



B. S . 

CHRIST ON THE CROSS. 

CIRCA 1470. 
(No. 347, WEIGEL.) 

f N the centre of the design stands the Cross, embracing the whole height 
of the print, the Scroll of the inscription extending in fact beyond the 
upper border line. The transverse beam of the Cross is wide, and in 
length occupies nearly the breadth of the engraving. Christ is dead, 
His head resting on the right shoulder, the face expresses suffering. The crown of 
thorns in on the brow and an ornamented cruciform nimbus over the head. The 
perizonium or loin cloth is bound around each hip and thigh separately, the ends 
fluttering on the right (to the spectator) of the Cross. The ribs and the muscle* 
of the left arm are strongly marked, the patellae are very large and marked at the 
centre with a cross. The fingers of each hand are not extended, but curved 
inwards as if convulsively grasping the nails which have pierced the hands. The 
feet are crossed, secured with a large nail, but there is not any suppedaneum. At the 
foot of the Cross are large stones and a skull. On the right hand side of the Cross 
(the left to the spectator) stands the Virgin with bowed head and hands crossed 
upon the breast. Her mantle is large, covers the head and falls in folds on the 
ground. On the other side stands St. John with head uncovered, flowing hair 
and hands crossed on the chest. He looks towards Mary. Both mantle and tunic 
are of rather elegant cast; below the latter may be seen the beloved disciple's 
naked feet. Neither Mary or St. John has a nimbus over the head. 

The entire background is diapered with lozenges and rosettes ; the foreground 
is flowery and grassy. 

Tin- technic is stiff and formal but careful, the draperies being of dotted, the 
body of our Lord of lined and frayed work. The markings of the wood of the 
tree of which the Cross has been formed are strongly represented as they appear 
on longitudinal section. The print has been partially coloured. The Cross 
and nimbus of our Lord are yellow, the wreath of thorns green, parts of the 
draperies and the foreground are green and yellow. 

At the left edge of the paper is part of a watermark, not decipherable in 
character. The engraving has been mounted on the leaf of a M8. written in 
double columns, and a line of cursive MS. is above the print in front. 

According to Weigel the body of Christ on the bronze crucifix at the west Hide 
of St. 8e bald us' Church at Ntirnberg, has great similarity with the figure of Christ 
in the present design. 

[7 X 4 \ in.] [Partly coloured.] 







CHRIST ON THE CROSS. 77 

B. 6. 

CHRIST ON THE CROSS. 

1430 (?). 

GERMANY. 

PHOTOGRAPHIC and reduced copy of a print formerly in the 

" Douce Collection," and now ut Oxford. 

In the centre of the design, which is arched at the top, stands the 

Cross, occupying nearly two-thirds of the composition. On the Cross 
hangs our Lord ; His head is erect, a narrow circular nimbus is above it and a 
thorn branch is tightened round the brow. A fluttering but somewhat scanty 
loin cloth is present ; the right foot is placed upon the left one, there is not any 
suppedaneum. On the projecting head of the upright beam of the Cross is a tablet, 
on which are the letters LNRI in reverse. On the left hand (to the spectator) of 
the Cross stands St. John. Over his head is a very narrow nimbus ; he looks up 
at Christ and raises his left hand as if in wonder. In the right hand he holds a 
tablet, on the lower part of which are the letters G. H. On the other side stands 
the Virgin; she is seen in profile with slightly raised hands and looking towards 
our Lord. She is draped in a long mantle from head to foot. At the base of the 
lie a skull and some bones. The foreground is very narrow and plain in 
character. The general ground of the composition is of a highly decorative kind. 
On the upper part, that is, from the arched top down to the tablet on the head 
of the Cross, the dark ground is closely sprinkled over with little white buds or 
pearl drops, connected generally by fine hair-like branches, curving and interlacing 
in a methodical manner. This general decoration is overrun by a very large 
white ornament, closely simulating the designs to be met with in Persian drawings 
and manuscripts and in Moorish adornments. This ornament springs up by two 
bands from above the inscription on the Cross. Below it the general ground is 
formed of very small white punctations, over which runs a mass of leaves and buds 
of a conventional description, connected by delicate curved branches rising by 
single stems from each side of the Cross near its foot. On the background between 
the Virgin and the edge of the print is a tree rising from out a rounded mass 
of herbage. This tree comes white off the ground and bears on its trunk the date 
M . cccc . xxx. Between St. John and the edge of the print are parts of the 
rounded surface and ground of another plate, which had been sunk apparently in 
tin- larger plate at its lower portion. The ornamentation of thu second plate U 
of a like kind to that before described. 

Around the general design, with the exception of the lower corner, where 
the second plate has been inserted, runs, a narrow border, in which is a spiral band 
having little Imds or pearl drops between the coils. A like border runs round 
the inner ed;_'<' of the second plate. Along the border of the general design are 
the marks of three holes on the left hand side, and of four on the ri-_dit hand side 
of the plate. The second plate edge shows traces of one hole near the shoulder 
of St. John. 

We are of opinion that the original metal, from an impression from which the 
photographic copy before u> ha> l>een taken, was a forgery of cnmpiirati\cl\ modern 
times. The peculiar mixture of technics ami of the ornamentation of different 
period-, ;iinl >t\lcs. the l>ad ami almost clnhli-h draw in;: of the two figures l>y the 
. the character and work of the tree bearinir the date, the date itself an<l the 
presence of a portion of a second plate intruding on the other metal, arc sufficient 



78 PRINTS IN THE MANIERE CRIBLEE. 

in themselves to excite strong suspicion as to the genuine antique character of the 
engraving. 

In addition to these circumstances we cannot help being influenced also by the 
following account given by Dr. Dibdin in the third volume of his " Bibliographical 
and Antiquarian Tour." Supplement, p. xxxiv. Alluding to the treasures of 
Baron Derschau at Niirnberg (A.D. 1818), Dr. Dibdin remarks 

" The Baron laid the greatest stress upon a copper-plate impression of a 
crucifixion of the date of 1430, which undoubtedly had a very staggering aspect. 
. . . . I will describe this singular specimen of old as briefly and perspicuously as I 
am able. It consists of an impre-sion in pale black ink resembling very much 
that of aquatint, of a subject cut upon copper or brass, which is about seventeen 
inches in height (the top being a little cut-away) and about ten inches six-eighths 
in width. The upper partof the impression is in the shape of an obtusely pointed, or 
perhaps rather semicircular gothic window, and is filled by involutions of forms or 
patterns with great freedom of play and grace of composition : resembling the stained 
glass in the upper parts of the more elaborated gothic windows at the beginning of 
the fifteenth century. Round the outer border of the subject there are seven 
white circular holes, as if the metal from which the impression was taken had been 
nailed up against a wall and these blank spots were the results of the apertures 
caused by the spaces formerly occupied by the nails. Below is the subject of the 
Crucifixion. The cross is ten inches high ; the figure of Christ without the glory 
six inches. St. John is to the left, and the Mother of Christ to the right of the 
cross, and each of these figures is about four inches high. The drawing and 
execution of these three figures are barbarously puerile. To the left of St. John 
is a singular appearance of the upper part of another plate running at right angles 
with the principal, and composed also in the form of the upper portion of a gothic 
window. To the right of the Virgin and of the plate, is the ' staggering ' date 
above mentioned. It is thus : M . cccc . xxx. This date is fixed upon the stem 
of a tree of which both the stem and the branches above appear to have been 
scraped, in the copper almost white for the sake of introducing the inscription or 
date. The date, moreover, has a very suspicious look in regard to the execution 
of the letters of which it is composed. As to the paper upon which the impres- 
sion is taken it has doubtless much of the look of old paper ; but not of that 
particular kind, either in regard to tone or quality which we see in the prints of 
Mechlin, Schoen or Albert Durer. But what gives a more ' staggering aspect ' 
to the whole affair is that the worthy Derschau had another copy of this same 
impression, which he sold to Mr. John Payne, and which is now in the highly 
curious collection of Mr. Douce. This was fortunate to say the least. The copy 
purchased by myself is now in the collection of Earl Spencer." 

Were it not for the intrinsic characters of the style and work, &c. before men- 
tioned, it might be allowed perhaps that the original metal plate was truly a genuine 
one of the period of which it asserts itself to be, anil \\ as in the possession of Baron 
Derschau, who had caused several impressions to be worked off from it, disposing 
of tin-in when opportunity offered as veritable antiques. But even this more 
venial crime is not the only one in our opinion which has been here perpetrated. 
Whether the Baron was particepg criminis in the manufacture of the original 
plate as well as of the modern impressions cannot be determined, but that he 
knew the impressions he sold were not old ones can scarcely be doubted. 

It is proper to state, however, that another view of the matter has been taken 
by Nagler, who under the heading G.II. N r . 3049, Monogramniisteii, vol. ii. 
p. 1065, remarks 

"A large print exists reprc-enting Christ on the Cross and the Donatoren at 
tin- fo.t of it. The man holds a banderole with G. II. on it, and the \\nman kneel* 
[nc] in adoration. The ground is decorated after the manner of old pictures on 
gold grounds, but the engraver has punctated tlie work in a very unsatisfactory 
manner. The model for tlii* ropper -plate engraving was probably a picture be- 




CHRIST ON THE CROSS. 79 

loii'.'inir to the first half of the fifteenth century. On the right hand below stands 
in fact tin- date M . cccc . xxx. The letters G. 11. on the banderole may signify 
tlie name of the Donators, or of the painter, hut then only in tlie case that he is 
here represented along with his wife. The engraving is rounded at the top." 

As we consider that the two figures at the foot of the Cross are provided with 
nimlii, we cannot regard them as representing either Donators or painter and 
wife. 

[ 1 l i X 7 in.] [Uncoloured.] 

B. 7. 
THE CRUCIFIXION. 

CIRCA 1450. 

LOWER RHINE SCHOOL (?). 
(THE " CRUCIFIXION OF THE MAZARINE OR GUTENBERG BIBLE.") 

HE composition is a large one for the maniere crillee, being contained 
on a folio sheet, which when entire was at least 1 $^ inches high by 
1O inches wide. Within these limits, however, broad borders of in- 
scriptions have to be reckoned. 

In the centre stands the Cross, on which is Christ crucified. To the left of the 

.itor is a cross on which hangs the good thief; to the right a cross on which 

writhes the bad one. There is considerable difference between the sizes of the 

central Cross and Figure and those of the lateral crosses and the forms upon them. 

The transverse beam of the central Cross is 6|- inches in length, and the Crucified 

is a figure of the like dimension in height, while the transverse beam of the cross on 

tin- Irt'i hand is but little more than 2j-ths of an inch long, and the figure on it if quite 

:(! would not exceed 3 inches |ths in height. 

Christ is already dead, tlie head hangs over the right shoulder; the body is 
!n<-.r_'iv. but the trunk and lower extremities are not badly indicated with the 
'tion of the toes. The arms, particularly the right arm, are very unsatis- 
factory. The thickness of the hair of the head and beard is strongly marked. 
A wreath of thorns is around the brow, an ornamented cruciform nimbus over 
the head. The fingers appear to have grasped convulsively the large nails by 
which the hands were pierced and aih'xcd. A well though somewhat stiffly cast 
jHTi/onimn covers the pelvis, the ends of the cloth hanging over the right hip. 
The feet are crossed (the right foot over the left as usual), and both secured to 
the ( 'ros by one large sharply conical -headed nail ; there is not any snppedunenin. 
Above the projecting head of the upright beam of the Cross rise two short staves, 
between which is a waved scroll, having on it the letters I N R I with large 
ro-cttes between them. In the delineation of the Cross a curious error through 
forgetfulnesa has been committed. It may be noticed. .,'. that the perpendicular 
perspective M<K- of all the crosses are those to the ri<_'ht hand of the spectator, 
and a- such they are represented with the exception of the central Cross, in which 
the perspective M<le of the upright beam is on the left hand. 

The time or action is that of the piercing of the rhe-t of Christ by one of the sol- 
dier-. \\ ho from a remote period ha- been di-t in<_'iii-hed through one form of a legend 
as " Longinu-." In this legend. Longinns i.- de-cribed as having a defective night. 

A- he thrust the spear into our Lord's -ide ie blood fell upon hi- hand, which 

being applied to his ,.\,-v l,j s vision immediately became perfected. In tlie repre- 
-entation of this event in later times, another si.Mier i~ made (.. properly guide the 
lance uhiih I.oiijims holds in hi- hand. After tlie latter had thus received his 



80 PRINTS IN THE MAXIERE CRIB LEE. 

sight, " he turned away repentant and sought the Apostles, by whom he was bap- 
tized, and received into the Church of Christ. Afterwards he retired to Caesarea, 
and dwelt there for twenty-eight years, converting numbers to the Christian faith ; 
but at the end of that time he was seized by order of the governor, and ordered 
to sacrifice to the false gods. St. Longinus not only refused, but being impatient 
to receive the crown of martyrdom, he assured the governor, who was blind, that 
he would recover his sight only after putting him to death. Accordingly, the 
governor commanded that he should be beheaded, and immediately his sight was 
restored ; and he also became a Christian, but St. Longinus was received into 
eternal glory, being ' the first-fruits of the Church.' This wild legend, which is 
of great antiquity, was early repudiated by the Church ; it remained, however, 
popular among the people, and it is necessary to keep it in mind in order to 
understand the significance given to the figure of the centurion in most of the 
ancient pictures of the Crucifixion." (" Sacred and Legendary Art," p. 463.) 1 

On the left of the Cross (to the spectator) is Longinus on horseback ; a long 
spear in his right baud, the point of which has pierced our Lord's side : "unus mili- 
t um lancea latus ejus aperuit et continue exivit sanguis et aqua." (Johan: xix. 34.) 

Longinus has thrown back his head, and applies his left hand to his eye. 
Before Longinus is represented an attendant, also on horseback, who guides with 
his left hand the end of Longinus' lance, and points upward towards Christ with 
his right hand. The back of this soldier is turned to the spectator. Longinus is here, 
so far, kept distinct from the centurion, with whom he is sometimes confounded. 
" Later times," writes Lady Eastlake, "have pronounced this spearman [Longinus] 
to be one and the same as the centurion, who was converted by the signs following 
the death of Christ . . . This is a curious instance of the tendency of all such inven- 
tions to overreach themselves. It is not that the simplicity of the sacred narra- 
tive is disturbed, but its inherent logic utterly disregarded. This has of course 
attracted the attention of Catholic as well as of Protestant writers. De Tillemont, 
in his ' Histnire Ecck'siastique,' exclaims, ' Is it to be believed that the same man 
dared to pierce the side of one whom he himself had just confessed to be the Son 
of God P ' So much for the identity of these two separate individuals an idea 
never dreamt of by early Art, which, representing successive actions simultaneously, 
frequently shows Longinus piercing the side, whilst the centurion holds tip his 
hand and exclaims, ' Truly this was the Son of God.' We see the two together 
in Giotto and in Martin Schon, and even as late as in Gaudenzio Ferrari the 
blunder of confounding these two individuals is therefore as recent as it is absurd." 
(" History of our Lord," vol. ii. p. 160.) 

In the representation before us, the centurion is on the other side of the Cross 
to Longinus. He is mounted, wears armour on the trunk and arms, and bears in 
his left hand a long and pennoned lance, on the banner of which is represented 
a scorpion. The centurion has on a plumed cap and bears a straight sword at 
his left side. His horse is somewhat richly caparisoned. That the present 
person it meant for the centurion is clear from the inscription on the scroll 
adjacent to him viz. " Vere filius Dei erat ho iste." (Matth : xxvii. 54.) 

Half hidden by the lower part of the Cross, and by the lower extremities of 
our Ix.nl. is another and helineted soldier, who directs his regard and action 
towards the centurion. On a level with this soldier, on the other side of the Cross 



1 " From an early time, however, thi> individual has been distinguished hv the 
name of Loin-inn-, which appears in the splendid Svriac MS. in the Library of 
S. Lorenzo, at Florence, probably of the 1 1th century, bein^' inscribed hori/on- 
tally in Greek letters beside the figure holding t!ie spear. The name cannot he 
ascribed to any tradition; its obvious derivation from lonjMu 1 (\uy\q) spear or 
lance, shows that it was, like that of St. Veronica, fashioned to suit the e\ent." 
(" History of our Lord. " \ol. ii. p. ibO.) 



THE CRUCIFIXION. 81 

and behind Longinus, is a mounted soldier in armour and plumed helmet, who looks 
towards an attendant at the foot of the cross of the good thief, while he points up 
at a scroll on which are the words, " Heliam vocat iste." (Matth : xxvii. 47.) 

This attendant, also mounted, directs his left hand towards a scroll on which 
is inscribed, " Alios salvos fe 1 seip " (alios salvos fecit, seipsum non potest salvum 
facere). (Matth : xxvii. 42.) 

On the left hand (to the spectator) of the central Cross is the cross of the 
" pood thief." The latter directs his face towards our Lord, he is bareheaded and 
partially bald, though thick hair falls at the back. He is secured to the transverse 
beam of the cross by ropes H round the arms ; the legs are crossed, the left leg 
over the right, but he hangs well extended, and without any writhing. A narrow 
tight-fitting cloth is around the loins. As if proceeding from him is a scroll 
bearing the words, " Dne memento mei du veneris in regnu t." (Luc : xxiii. 42.) 
On the other side of the central Cross is the cross of the bad thief. The 
latter has turned his back on Christ. A large slouched hat is upon his head. 
lie is secured by the arms to the transverse beam, and writhes as if in agony. On 
a scroll beside him are the words, " Si tu es xrs salvu fac te ipm et nos." (Luc : 
xxiii. 39.) 

" There is some reason to believe, that the crucifixion of the thieves preceded 
in Art the crucifixion of ou,r Lord. We see in an early crucifixion given in Frisi's 
' Memorie delle Cliiese Monzese,' the thieves bound to their crosses with the 
figure of the Lord standing between them, or simply with the head of Christ in a 
circle and a cross beneath it ; the sun and the moon as small heads or signs appear 
in their usual places, and below kneel two figures, probably the Virgin and 
St. John. The thieves already indicate their history, for the head of the one on 
the right is turned to the centre, while that of him on the left is averted. This 
is a very remarkable instance of the incongruous mixture of the real and ideal in 
which early reverence halted before venturing on the complete picture. How 
soon the centre cross was erected between them it would be difficult to say at all 
events, the three crosses appear by the eleventh century. In the Syriac MS. in the 
Laurentian Library at Florence, the thieves are nailed to their crosses, in this 
doubtless preserving greater historical accuracy. In later forms, however, they 
are generally seen tied on to their crosses ; the transverse beam passing under 
the armpits, their hands evidently fastened behind. The reason for their being 
nailed in the one instance and bound in the other, may be found in the necessity, 
loring the rude and ignorant eyes of those who beheld them, of distinguish- 
ing their figures at a glance from that of Christ. In the earlier instances this 
distinction was sufficiently supplied by the difference in their dress, they having 
merely a short petticoat round the hips, whilst the Lord was often draped from 
shoulders to feet. But when the dress became similar, Christ being girded only 
with the perizonium or linen cloth, the necessary distinction was found in the 
different way in which their figures were attached to the cross. Economy of 
space had also something to do with this arrangement. The crosses of the 
thieve- were often made far smaller than that of the Lord, and the position of the 
hound arms further contracted the size .... After this painters seem to have 
vied with one another in inventing modes for the crucifixion of the thieves. This 
was no longer by way of distinction, for the times for such a necessity were passed, 
but rather as affecting pictorial variety in a terrible and thankless subject. The 
bodies of the thieves were accordingly wrung into every form that humanity could be 
compelled to assume . . . . We must turn to the early Gennan and Flemish schools 
for a very ungraceful view of the crucifixion in every MOM, especially of the 
thieve*. In Ko'.'iurvan der Wevden's picture, in the Castt-lharca (Jullcry at Milan, 
tin- eross is in trout of the thief, who rides on it in a very unbecoming manner. 
Nrael von Meeheneii has in two instances represented both hi* thi< \ - blimlfoli'.etl. 
The ' Maitre < Yible' has tied them in a mode whieli neeesMtates the utmost 
tortion, while his bad thief is turning more than disrespectfully from our I. 

a 



82 PRINTS IN THE MANIERE CRIBLEE. 

and perhaps to show his further irreverence has a slouched hat on." (" History 
of our Lord," vol. ii. pp. 167-69.) 

From the angle of the composition above the good thief proceed rays of lijrlit 
from a cloud whence issues a winged angel, who receives in his hands the soul of 
the good thief personified as a naked child. At the opposite corner a demon 
emerges from a cloud of flames, and snatches up the soul of the bad thief perso- 
nified as before. 

" A striking and characteristic purpose to which the attendance of angels is 
applied, is seen in those early and full crucifixions which include the two thieves. 
Here both angelic and demoniac ministry is introduced angels to receive the 
soul of the good thief, and demons waiting for that of the impenitent malefactor. 
This was a natural idea at a period when no death-bed was represented without 
a good or evil spirit watching for the disembodiment of the soul. These ghostly 
convoys to opposite worlds would hardly occur before the 14th century." 
(" History of our Lord," vol. ii p. 1 74.) 

Above the central Cross are the symbols of the sun and the moon (antea, 
p. 19'). In the foreground below the Cross are the figures of the Blessed Vimm, 
of the two Marys, St. John, and of a mounted soldier. The Mother of our Lord 
has fainted, St. John supports her at her left shoulder, while Mary, " soror matris 
ej us Maria Cleoph " (Johan: xix. 25), takes her right hand. Alary Magdalene 
clasps the foot of the Cross and looks up with agony at the figure of the Crucified. 
Immediately below the horse of the centurion is a person on horseback, bare- 
headed, and with a long straight sword at his side. He is not in armour, and 
his hair is thick and curly like a wig. He looks towards the Magdalene, and holds 
the end of a scroll in the left hand, on which is inscribed, "Vach q destruis 
templu," (vah ! qui destruis templum Dei et in triduo illud reeedificas : salva 
temetipsum : si filius Dei es descende de cruce.) (Matth : xxvii. 40.) 

Stephaton the soldier whom tradition states held the sponge or cup of 
vinegar is not here represented. 

Along the upper and lateral margins of the composition run borders |-ths of 
an inch wide containing an inscription which begins at the lower end of the border 
on the left hand. The left lateral border and the upper one along with their 
inscriptions have suffered so much injury that were it not for the perfect 
condition of the engraving in the example to be described next (B. 8), 
the decipherment of the present inscription would have been difficult. The 
letters of it are more than half an inch high, and of a large Gothic minuscule 
character, relieved white from off a deep black ground. The text is as follows 

44 Tmpanlifl mrntio tria pcutKt corpora ramie, Diomafl- et GOJmac, I mrftio tmi, 
na ptS0 Diflma0 0a(uatur, cc0ma0 bcro ttampnificatur." 

The border at the lower part of the design is l^ths of an inch wide, and runs 
across the whole length of the print. It contains three lines of text, each line being 
separated by a fine white rule from the other. The letters are much smaller and 
finer than are those in the other borders. The inscription in this lower border 

1 See also Weigel und Zestermann, " Anfange," vol. i. p. 26, note 9. 

* " Quant au nom de Dismas nous le donnons sans autre garantie qu'une 
tradition populaire conservce pieusement en Allemagne* surtout, et qu'expriim-nt 
ces vcrs Iconina du Moycn-Agc au sujet de Calvaire 

" ImparibuB meritis pendent tria corpora malis : 

1' . . i .'MM^JUI-. in iiicilin M-ilrt iniii p.. totas : 
Gestaa damnatur, Dismas super astra levatur." 



44 Au fond cela remonte jusqu'a l'evan:ilr ape.crvplie qui portc le nom de 
Nicodeme." (Cahier, le P. Ch., " Caractc'rMiques des Suint:-." 1'aris, 1867. 410.. 
P- 35-) 



THE CRUCIFIXION. 83 

i- :i modified version of the hymn of the Catholic Church, known as the "Are 
Verum;" it runs as follows : 

" Ave veru corp* domi nrl ihu xri natu ex maria virgine vere passum et 
ymmola // tu in cmce pro homle cui* latus perform vere flexit saguie esto michi 
pL'ustatu mor// tu examie. O dulcis o pie o ihu xre filii marie misere michi qui 
passus es pro me amen." 

The original hymn is the following 

" Ave Verum corpus natum 

De Maria Virgine 
Vere passum immolatum 

In cruce pro homine 
Cujus latus perforatum 

Unda flexit et sanguine 
Esto nobis pragustatura 

Mortis in examine 
O Clemens ! O Pie ! 

O Jesu Fili Mariae. 

Amen." 

On attentively examining the technical execution of this print, we are 
struck by the extreme preponderance of punctiform work over all other kinds of 
manipulative procedure. It may be said that the entire design, with the excep- 
tion of the foreground, inscriptions, the hair both of men and horses, and certain 
accessories, is vigorously developed by means of systematically arranged dots of 
various magnitudes. In certain parts of the draperies a small amount of lined 
and frayed work is observable, but on the whole the print is as pure an example 
of engraving in the maniere criblee as can readily be seen. Of neatness, defini- 
tion of the contour forms and general incisiveness, it is a prominent example, and 
from the liability to clogging in the inking of lined technic being here at a 
minimum, a clearness and sharpness of impression have resulted which are specially 
noteworthy. These very circumstances, however, along with the preponderance 
of dotted work, have endowed the impression with a rigidity, flatness, and want of 
light and shade or chiaro-scuro not less remarkable. 

The designer and engraver of this original plate was not much of an artist in 
the true sense of the word, and but little acquainted with the processes of ordinary 
intaglio engraving; but he was an experienced and habile craftsman in the gold 
ami silversmith's art, as far as that could be turned to account in rivalling the 
effects of the copper-plate engraver. 

Some colour has been applied chiefly green and brown madder both to the 
inscriptions and foreground, and to the draperies. Yellow tinges certain of the 
-ories. The madders have flown, or else have yielded to the washing to 
whii-h the print may have been subjected. The green being verdigris, has con- 
tinued permanent. 

The paper on which the impression has been taken is of a very good kind, but 
with rather coarse wire marks. A watermark of a large minuscle Gothic A, from 
tin top of which springs a trefoil ornament, may be seen near the lower margin of 
I he engraving. 

The example which has just been described has an interesting history. It 
was discovered " pasted on the inside cover of the celebrated vellum copy of the 
M:ixarine ISible, formerly Mr. Xicol's of 1'all Mall, and was purchased at the sale 
ofiiis collection bv Mr. liritton. for Sir .John Soano, who afterwards relinquished 
it to Mr. Ottley." ( Sale catalogue of Ottley collection, p. 1 26, n. 1895. London, 
May. IS;?7.) 

Mr. Oitli-v in hi- " Inquiry concerning the Invention of Printing. 
(Hrrjean's edition. London, l 863, p. 194). alluding to his acquisition as a mark. . I 
example of 1 ' a mode of fim'shini: en-_'r:i\ ings in wood," observes, " this mode appears 
to have been practised at Mcntz amongst other places at an early period oft!, 



84 PRINTS IN THE MANIERE CRIBLEE. 

vention of typography. A very fine copy of the Mazarine Bible, as it is called in 
the original binding, late the property of Messrs. G. and W. Nicol, had pasted within 
its covers two very interesting prints of this kind, representing 'Christ praying 
in the Garden,' and the ' Crucifixion of Christ between the two thieves,' and it is 
remarkable that of the former print, which is of only half the dimensions of the 
other, two impressions were inserted, a circumstance which I mention because I 
think it proves that these engravings were printed and sold at Mentz contem- 
porarily with the publication of this Bible. I suspect that both these prints and 
some others of the kind that I have seen, may have been engraved by the same 
artizans who were employed by Fust and Schoeffer to engrave the large initial 
letters of the Psalter; and that the persons who made the designs, though skilful 
in drawing sprigs of foliage, flourishes, and other typographical ornaments, were 
little accustomed to delineate the human figure." . . . . " The letters in all these 
inscriptions, although somewhat extravagant in their forms, are cut with great 
ability, and must have been written for the engraver by a well practised caligra- 
phist, perhaps by Schoeffer himself." (Op. cit. p. 194.) 

The present engraving attracted the notice of Dr. Waagcn, who thus alludes 
to it in his " Treasures of Art in Great Britain " (Murray's edition, London, 1 854, 
vol. i. p. 287), " The Crucifixion a rich composition ; the Christ with sunken 
head is of what may be callefl modified Byzantine character .... the proportions 
are slender, the forms very meagre but well drawn, the horses, however, wretched. 
The treatment of the flesh parts, the drapery, and the six horses in white dots is 
very remarkable. From the Netherlandish character of this print, I am inclined 
to consider it of Lower Rhenish origin, and from the style, and especially from 
the tolerable purity of the drapery, of about the date of 1450." 

X 10$- in.] [Partly coloured.] 




B. 8. 
THE CRUCIFIXION. 

(ORIGINAL, LAST QUARTER OF THE FIFTEENTH CENTURY ?). 

GERMANY. 

" HELIOGRAVURE," by E. Baldus, of a print in the " Collection 
de M r le B r " Edmond de Rothschild," at Paris. The original appears 
to be a copy, modified in certain details of composition and oftechnic, 
of the engraving of the Crucifixion which has just been described 
(B. 7). The variations in the design here present may be seen in the omission of 
the sun and moon, in the demon angel receiving the soul of the bad thief, in the 
symbols of both thieves' souls, in the presence of drops of blood falling from Un- 
hands of the Crucified. The omission of the scorpion on the pennon of the spear 
held by the centurion, and the substitution for it of a scroll on which is an (inde- 
cipherable) inscription, may also be pointed out. Other and less important 
changes of details are also present. 

The error in the perspective drawing of the central Cross previously mentioned 
(l 1 - 79) ha* been commit ted here likewise. 

As regards the technical execution of this copy, it may be at once observed 
that an attempt has been made to displace much of the effect of the rraft work of 
the mere goldsmith engraver, by the substitution of a technic which shall simulate 
in iu result* those of more ordinary engraving. In B. 7. dotted \\<>rk is at a 
maximum of extent and effect ; in the print before us it is, if not at a minimum, 
generally subdued l>y effect > resulting from lined and frayed work and from the 
manipulations of instruments apparently analogous to the roulette, berceau, cradle 
and toothed chi-d of the earlier me//nt int engravers. That such tools or modi- 
fications of them have l.cen employed \ve think must be evident on examining with 



THE CRUCIFIXION. 85 

a lens the drapery hanging from the left shoulder of the Magdalene (that part of 
her mantle which falls upon the ground) and the body of our Lord. By the killing 
if the expression be allowed of the dotted work at certain parts near the 
contour forms and on the shadow sides, helped by heavy inking, an amount of light 
and shade and of relief has been obtained which is wanting in the flat inartistic, but 
neat mechanical craft work of the other engraving B. 7. It is true that the 
artistic effects of light and shade in B. 8. are often poor enough, nevertheless there 
is shown an endeavour to emerge from the conventional trammels of the mere 
workman however perfect his technical ability into the freedom of the artist 
proper. As far indeed as pure punctiform technic, clearness and decision of 
outline are concerned, B. 7. has the advantage. In respect to drawing and 
interpretation of forms, some details are better in the first, others in the present 
engraving. The difference of the work in the details of the foreground is very 
marked, and to the advantage of the previous impression B. 7- Some of the 
technical work, such as of the Crosses, e.g. is of far superior character in the 
previously described engraving. The letters of the inscription in the lower border 
are heavier in B. 8. than in B. 7. as are also those of'the scrolls. 

X lOLin.] [Uncoloured.] 

B. 9 . 
"ECCE HOMO!" 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
GERMANY. 

LARGE and striking specimen of early German Art in admirable condi- 
tion. The whole design includes a space 15| inches in height by loj 
inches in width. Within these limits are included borders of engraved 
text from 2^ inches to 2^ wide. A central space of about a foot high 
and~4!~inche8 in width is thus left for the pictorial composition. In the middle 
of this space stands our Lord before an open tomb, and surrounded by the in.st ru- 
men ta of the Passion. He is directed towards the right hand. He bends slightly 
at the loins and knees, and the head falls slightly forward. The nude body is 
exposed by the opening of the loose mantle in its entire length, which is secured 
at the neck only by a narrow band. A loin cloth is present; the hands are 
crossed and tied in front, and a long narrow palm branch runs from our Lord's 
right hand over the right shoulder. A large circular and bordered cruciform 
nimbus, the disc of which is adorned with fine rays, is over Christ's head, a wreath 
of thorns is around the brow and the hair falls down upon the shoulders. A 
wound is represented on the right side of the chest, and from it blood drops are 
i-uing. With the exception of the feet and hands the drawing is fairly good, 
though the head is large and the features heavy. The wounds from the nails are 
shown on the backs of the hands and also on the front of the feet. Immediately 
above the nimbus runs the transverse beam of the Cross, on the top of which ia a 
tablet bearing the letters I N R I. On the left (to the spectator) above the beam 
is the symbol of the sun, and on the right hand is that of the moon. Below are 
several of the instruments and other symbols of the Passion which usually accom- 
pany the figure of Christ in representations of the " MH-- "f St. Gregory." On 
t In- "right by the left shoulder of Christ is a head reviling or spitting at Him, above 
this head an- two staves crossed, below three nails, and laterally part of a long 
.p. ;u-. On the other side of our Lord is a column, on the capital of which stands 
a cock. Around the shaft runs n thick .-,.rd, sn-nrin^ near the top of the column 
a scourge and a rod. By the column rises a forked pole, having a t the top a 
iponge. The background on which th,-M--yiaboU and instruments appear i li-.-j. 
l.lack sprinklc.1 with white hluirp MX-raved stars. Behind our I.or.l 




86 PRINTS IN THE MAN IE RE CRIB LEE. 

across the background a shallow open tomb, on a stone at the base of which 
Christ stands. At His feet, and on the right, is His garment, in front of which lie 
three large dice. A few stones and plants are in the immediate foreground. 
Below there is a white border about |ths of an inch wide, on which is engraved in 
black letters 

ECCE . HOMO. 

As regards the technic of the engraving, it may be remarked that all the 
usual styles may be observed in it. There is dotted work in the draperies, fore- 
ground, tomb, and column ; lined and frayed work in the body of our Lord, in the 
mantle, and in the several accessories. 

Above the top of the pictorial design run six lines of engraved text, on each 
side of it thirty lines, and below it three. The characters are slender, sharp, 
Gothic minuscules, the top and bottom lines commencing with large ornamental D's. 
The text is in the High German of the time, and relates to " the fifteen spiritual 
sorrows of our Lord Jesus Christ which He bore hidden in His soul when He 
became acquainted in His Mother's Womb with all that must happen," &c. 

The text runs as follows 

(Six top lines). 

D?00 opnt Bpe . rto . pc pfltlicbcn tote unB incrlicb IpBen unorro 

brrn Jbcou fpnotc Bpe er tocrfaororn Drue 31" cpnrr ccllcn. 

toan er bebant e0 ailca in mutter Ipbe unB cann alle 0pt in 

epnem toillcn Dae ro colt crccbeben Barumb er aucb npe celacbt 

Burcb Deo mrncebcn toillen tiaran ocBencfe cnctrn mcnsch unto 0pcb an 

BIT bambrniobcit cotte0 un Iao0 Burcb 0ine toillm allc ounti unH frniD Her tacit 

(Lines on the left hand side). 

Per er0t toa00 Da0 
er brbant in muter 
Ipbc allffi p flpn (ptten 
Orr anucr toaao Da 
rr GC born toarti un 
an each Dpc toclt 
mitt tier bitterbeit 
Der . iii . toaco Her 
Dott Her un0cbul> 
riiorn funuclm Bpc 
beroDe0 in 0pnem 
npu en base ermorrt 
Der . un . toa00 epn 
0rerben alter nar^ 
turlichrr imU men> 
ochhcbf r nrppuno 
Der . D . toa00 too 
er epnen mcnocbrn 
catb Df r beroam* 
pt. ooltc tocrDcn 
Der . bi . toa00 toan 
er rj'nrn ounDrr 
0acb De0 fltbauc 
brbant er baco 
Han He mcnocb 0rlb 
Der . tin . toaoo Ha 
3IuHa0 in Hem aber 
t00en Ha0 brplic o 
artamrnt nnpfr 
ne Ha erbarmt e0 rm 



"ECCE HOMOr 87 

(Lines on the right hand tide). 

Dec . ttu . toaoo Da 
cr cpn Dint alle an 
0acb BIT in irem 
mti in ntoltte Dotten 
Der . ir . toaao Dpr 
ccbemcntic flcbma.- 
cbbcrt 0pne0 hitt 
cm Iptie unD toDe0. 
Dec . f . toacc BIT. 
orooc sunn net Ju 
Den DEC 0ie Datten 
an cottfc 0un Jt)-. 
e0um Cri0tum r 
Dec . ri . toa00 Die 
flucbt unD untru 
0inec juncf rn in 
Dec ?itt 0ine0 IiDe0 
Dec . rit . teas Da0. 
re iL'Bcn colt in an* 
cse0ict cine liebe m-- 
Dec . riii , toaa (utter 
Da0 ec allem cpona 
toillen abctunt unD 
unDectoarf cicb 0in 
e0 i)imele0ci)? tattece 
Dec . jnui . tna0 (toillen 
Da0 ec 0oltte IpDen 
an bettecliebe fa* 
If unD aucf) an ftp. 
Ife allec cceatucen 

(Bottom lines'). 

Dec . rto . toa00 Dec unDanftbeckept 0pnec bepliocn IpDe0 Da0 J,m co. 
lut">cl 0inec hr vltccn martcll QeDanc&et unD 0pn bcpliocc faint 00 an 
mancen mcnocbcn bcrlorn toutD Da0 Dett Jm tnurocr Dan allco epn 



The print is stained merely with thin colour in the pictorial part and in the 
capital letters of the text Yellow, madder lake, and madder brown have been 
the colours employed. These have either flown from time or the print has been 
washed. 

X loj-in.] [Faintly coloured.] 

B. 10. 
SCENES FROM THE LIFE OF CHRIST. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

LARGE composition representing seven events in the Life of our Lord 

Hi* crucifixion. 

At the lower j>art of tlic print at our left hand corner Christ rise* 
__ from tin- tomli. Two of tin- watching soldiers startled from their sleep 
look up in amazement, the third ami fourth still slumber. Our Lord has placed 




88 PRINTS IN THE MANIERE CRIB LEE. 

His left leg out of the tomb, raises the right hand as in benediction, and holds the 
cross of victory in the left. A cruciform nimbus with rayed disc is above the 
head, a narrow loin cloth is visible through the large open mantle, confined only at 
the neck. The soldiers have morions, gauntlets, shields, spears, staves, and cross- 
bows, one shield is ornamented with fleurs-de-lis. Behind the rock which backs 
the tomb the three Marys are seen approaching, the Magdalene coming first. 
The nimbus of each Mary is differently ornamented, the nimbus of the central and 
weeping female having a rayed disc. 

At the lower right hand corner our Lord appears to His Mother, who is seated 
on a low bench within a Gothic chapel, and has an open book upon her knees. 
She looks towards her Son and raises slightly her joined hands ; an ornamented 
nimbus with rayed disc is above her head. Opposite to her stands Christ, who 
raises 1 1 is right hand in benediction, and bears the cross of victory in the left. 
A cruciform and rayed nimbus is over His head, the long hair descends to the right 
shoulder, and a loose piece of drapery falls open, exposing the right side of the 
body and arm and the lower part of the right leg. A small belfry or dormer 
window is on the roof of the chapel, and within the latter both a circular and 
narrow round arched window may be seen. The chapel has a tiled roof and stone 
walls. 

To the left of the chapel, and above the scene of the Resurrection, is a garden 
within a wattled fence. Therein, on the left hand, kneels the Magdalene, and 
points with the left hand towards Christ, who stands opposite her and attentively 
regards her. He raises the right hand in benediction, and holds a spade in the 
left. His long hair falls upon the shoulders, the feet and hands only are un- 
covered, a cruciform nimbus with rayed disc is over His head. The sleeves of 
the Magdalene are peculiar. 

Above the scenes of the visit of the three Marys and of the apparition to the 
Magdalene are the appearance of our Lord to Peter (" Simoni," Luc : xxiv. 
34. '' Cephas," Corinth, i. xv. 5), and that on the journey of two of His dis- 
ciples to Emmaus. 

To the left, and immediately above the three Marys, sits St. Peter as if asleep, 
in a rocky hollow surmounted by a tree; his hands are folded on his knees, his head 
drooping forward on his hands. A nimbus with a rayed disc is around his head. 
Our Lord stands before him raising His right hand in benediction, and supporting 
with His left hand the cross and banner of victory. To the right are seen journeying 
the two disciples to Emmaus, between whom stands the Lord raising the right 
hand in benediction, and holding in the left hand a long pilgrim's staff. He is here 
clad both in tunic and mantle, and a cap is on His head, above which is a cruci- 
form and rayed nimbus. The pilgrim-disciple most to the right appears about to 
enter a house. He has on a slouched hat and loose mantle, and carries a long staff 
across the right shoulder. Long hair falls from beneath his cap on to his shoulders. 
A tree which rises from the garden below obscures the lower part of his person. 
The other disciple wears a close small cap, and a sleeved but loose and long 
coat ; he appears as if pondering on the words of our Lord, raising the left hand as 
if in attention and supporting the right one on a short staff. In the sky above 
the pilgrims are some clouds, a little less conventional perhaps than is usual in 
prints of the present character. On the extreme ri<;lit and above the chapel in 
which Christ appears to His Mother, we look into a room of a castellated house. 
In the immediate foreground and to the right lies a dog gnawing a bone. Hevoiid 
sits a disciple on each side ; he with the slouched hat to the right, the other with 
the close cap on the left. Between them is a circular table, on which is spread a cloth 
bearing a dish and two loaves. The table-cloth is ornamented with lluiirs-de-lis. 
Opposite t the spectator and centrally sits Christ clad in mantle and tunic, with 
cap and cruciform nimbus over the head. Our Lord has blessed and broken the 
bread, which He holds before Him on the table. A small circular window is ahovr 
the head of the disciple seated on the right. The roof of the mansion is tiled, 



"SALVATOR MUNDT." 89 

and on the battlement, between the two corner turrets on the perspective plane of 
the house, are two small shields with black grounds, on one of which is a grapnel 
(or a three- branched fish-hook or anchor), and on the other a double A, or a double 
limbed compass or divider, with transverse beam. These marks are in white off 
the black ground, the first one being somewhat like in form to that given by 
Passavant as occurring on a print in the manitre criblee, representing the Virgin 
on the knee of St. Anne (vol. i. p. 93). Between the wattled fence of the garden, 
the roof of the chapel, and the scenes at Emmaus runs a stream. 

With regard to the technic of this engraving, it may be remarked that all 
varieties of manipulation in the maniere criblee may be seen in it. Small and large 
dotted work is frequent in the draperies, along with lined, hatched, and roulette 
work ; elsewhere frayed, lined, and mixed work may be observed. The floors of 
both rooms are parqueted or chequered ; the herbage of the foreground and garden 
is neatly and carefully made out. The general drawing is fair, and the expression 
of some faces and figures good ; but some of the hands are poor enough. A double 
line or narrow border encloses the composition. 

The print is in good condition, but has been lined. The paper has the Oothic 
IP for watermark. Colour has been applied throughout. The draperies have 
been tinted with madder lake, many of the accessories with yellow, and the ground 
with green opaque in some parts and transparent in others. 

Waagen refers to the print which has been described, as follows 

" With the exception of a few Gothic characteristics the architecture is 
Romanesque. The character of the heads corresponds with those in the oldest 
(in-mail woodcuts ; the motives in parts are good and even bold, as, for instance, 
the foreshortening of a soldier ; the execution is careful. From the purity of style 
in the partially painted drapery, which also in this instance has been carelessly 
printed, this plate can scarcely be later than 1450." (Op. cit. p. 286.) 

[141 X lO^in.] [Coloured.] 



B. ii. 
"SALVATOR MUNDI." 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 

'HIS is the title given to a late class of pictures in which Christ is re- 
presented alone, in the act of benediction, and with the sphere or 
world often represented as a crystal ball with cross upon it in Hia 
hands. This is especially characteristic of the German and Flemish 
mis. The subject is not usual in Italy." ("History of our Lord," vol. ii. p. 375.) 
A photographic copy of a small print formerly in the Douce collection. In 
tlie centre, of the design stands the Saviour of the world, directed slightly towards 
the Irl't. He raises the right hand in benediction, and extends the left, in which 
I!.- -upports a globe surmounted by a cross-crosslet. A large cruciform nimbus 
having small rays on the disc above the head is present. The Saviour's hair is 
long, and falls in waves upon the shoulder*. He is draped in a large mantle 
secured at the neck ; it is open over the chest and at the bottom in front, display- 
ing the bordered tunic beneath it. To the left of our Lord, and l>otween the hand 
raided, in benediction and the border of the print, is a long waved scroll with a 
black ground, and devoid of inscription. The foreground is grassy and flower)*. 





90 PRINTS IN THE MAN IE RE CRIB LEE. 

The figure and scroll come dark off a light background. The design is enclosed 
within a border formed of two black lines, having between them a line of white 
dote on a black ground. On the drapery, dotted work and lined hatching have been 
employed, and small pimctiform technic with larger white intagliations has been 
used to develop the foreground. The drawing and work are careful, the drapery 
well cast. 

[3 x 2 \ in.] [Not coloured.] 



B. 12. 

THE ARCHANGEL MICHAEL. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY P). 

FRANCE (P). 

COPY by J. Ph. Berjean of a rare print in the Library of the Arsenal 
at Paris. The design represents the Archangel Michael as con- 
queror over the Demon-dragon. St. Michael stands in the middle of 
a vaulted chamber, having beneath his feet the demon-dragon. The 
Archangel is winged and clad in a rich and sleeved mantle, fitting closely about 
the chest and waist. A long and Sowing sash or band passes around his neck, is 
crossed in front over the chest, encircles the waist, and has its long ends fluttering 
forth from St. Michael's right side. He has a fair and youthful face, a star is upon 
the brow, and the curled hair falls upon the shoulders. The angel raises his right 
arm, the hand bearing aloft a straight two-edged sword. He looks down on the 
dragon aa if about to strike him with it. In his left hand is a spear bearing a 
cross and the banner of victory at its upper extremity. The long and ornamental 
banner floats over the head of the Archangel as if to serve as a head-dress. 
The right leg is advanced, and presses down with its foot the body of the dragon. 
From beneath the feet and drapery of St. Michael emerges, on the left hand, the 
head of the demon, bearded and with quasi-human features. On the other side 
of the feet and mantle of the conqueror the curved up tail of the dragon makes 
its exit. The floor of the chamber on which the figures are placed is parqueted 
or chequered in white off a black ground, having long white lines running in an 
oblique manner through opposite angles of the squares in each row ; of which rows 
there are five. The background is formed of the wall of the chamber, made of 
large, oblong, black stones dotted white. The courses and joints of the stones 
are strongly marked in white. On this wall is part of a Gothic window on each 
side of the angel. These windows have latticed or small lozenge glazings. 
Above the head of the Archangel is the lower part of a larger Gothic window 
having a central rose, but part of which only can be seen. A narrow arch passes 
over the central window and meets the edge of the design at the top ; it is sup- 
ported on each side by a narrow pier having a projecting base. Between these 
bases runs a narrow black border, having the following inscription on it in white, 
half Gothic, half Roman characters 

' Archangele . dcu . michael. Pt ora . p. nobis." 

The design which has been described measures rather better than 6| inches 
high by 4] inches wide. It is included in a plain white border Jths of an inch wide. 
outside of which is an engraved ornamental framework or border nearly an inch 
in width. The ground of this decorative frame is black ; at each angle is the 






"MADONNA IN GLORIA." 91 

symbol of one of the Evangelists in a circular medallion, having an inscribed scroll 
at the lower part. Between the medallions runs a broad and sinuous line of con- 
ventional white clouds, having beside them white six-rayed stars. 

Though there are not any fleur-de-lis ornaments in this design, the general 
character and action of the figure lead to the suspicion that this print may be of 
French origin. One acquainted with Japanese designs cannot fail of being struck 
with the feeling therein displayed and that pervading the figure before ua. 

[9* x 7| in.] [Uncoloured.J 



. B. 13. 

THE "MADONNA IN GLORIA." 



(ORIGINAL, SECOND HALF OF THE FIFTEENTH CENTURY.) 

GERMANY. 

k HE Italians distinguish between the Madonna in trono and the Madonna 
in Gloria. When human beings, however sainted and exalted, were 
admitted within the margin of the picture, the divine dignity of the 
Virgin as Madre di Dio was often expressed by elevating her wholly 
above the earth, and placing her ' in regions mild of calm and serene air,' with the 
crescent or the rainbow under her feet. This is styled a 'Madonna in Gloria.' It 
is in fact a return to the antique conception of the enthroned Redeemer seated on 
a rainbow, sustained by the ' curled clouds,' and encircled by a glory of cherubim. 
The aureole of Hght within which the glorified Madonna and her Child, when in a 
standing position, are often placed, is of an oblong form, called from its shape the 
mandorla, ' the almond.' " (" Legends of the Madonna," p. 8 1.) 
A photographic copy of a print formerly in the Douce collection. 
The Blessed Virgin surrounded by an aureole and with a richly ornamented 
nimbus over her head stands on the crescent moon. A very full mantle en- 
velops her and falls in massive folds below, hiding everything except the horns 
of the crescent. She inclines the head downwards to her infant Son, whose face 
is raised to meet the left cheek of His mother, while He puts up the left hand to 
touch His mother's chin. The Virgin tenderly supports her ChHd with both 

h;miU. 

The background is delicately yet richly enfloriated. At the left hand lower 
r is a shield, the bearings on which cannot be interpreted. The technic of 
tln> drapery is of punctiform character, the lining of the mantle being worked out 
with large dots. The faces and hands are very coarsely executed in a mixed kind 
of work. The design and execution of the floriated background leave little to be 
<li-ired, except a more careful inking and printing of certain portions. The little 
four-leaved flowers and the delicate branches are tenderly worked out in white off 
the dark ground. The general cast of the drapery is good. There is the mark 
of a hole (in the original) at the bottom of the impression. 

[5i * 4} in.] [Uncolourcd.] 





92 PRINTS IN THE MAN IE RE CRIB LEE. 

B. 14. 
THE PURIFICATION. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 
GERMANY. 

PHOTOGRAPHIC copy of a small print formerly in the Douce col- 
lection. 

At a low altar beneath a castellated architectural canopy stands 
the Priest (?) in front, receiving the infant Saviour from the hands of 
an attendant who accompanies the Virgin Mother. The latter stands on the 
opposite side of the altar to the Priest, and offers with her right hand a basket 
containing two doves. 

"Postquam impleti sunt dies purgationis ejus tulerunt ilium in Jerusalem ut 
sisterent eum Domino et ut darent hostiam secundum quod dictum est in lege 
Domini, par turturum aut duos pullos columbarum." (Luc : ii. 22.) 

It may be, however, that the figures we have described as the Priest and as 
an attendant are intended for Simeon and Anna, the former raising his head to- 
wards on high, exclaiming 

" Nunc dimittis servum tuum Domine, secundum verbum tuum, in pace 
M Quia viderunt oculi mei salutare tuum," etc. (Luc : ii. 29.) 

By the side of the male figure hangs either a dagger or that which may repre- 
sent the knife for circumcision. 

The Virgin Mother is clothed from head to foot in a loose mantle, a nimbus 
with rayed disc is over her head. The female attendant or Anna behind the 
Priest has on a large turban. 

The actions of the Virgin and the Priest are easy and natural, but the infant 
Saviour is very badly designed, the head is more that of an old man than of a 
child, and out of all proportion to the body. 

The general design is enclosed within a border having a black ground, over 
which runs a line of conventional white clouds. The background behind the 
altar is deep black, from which three of the figures are relieved in white. Dotted 
technic may be seen in the mantle of the Virgin and the head-dress of the Priest, 
roulette-like hatching in the coat of the latter and lined work elsewhere. 

[2{- X If in.] [Uncoloured.] 




DEATH, ETC. OF THE VIRGIN. 93 



B. 15- 
THE DEATH, ETC. OF THE VIRGIN. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 
GERMANY. 

PHOTOGRAPHIC copy of a large print formerly in the possession 

of Henry Huth, Esq. 

The legend of the Death and Assumption of the Virgin has afforded 

the artist seven distinct scenes for representation. Of these, three are 
here represented, viz. the Death of the Virgin, her Assumption into Heaven, and 
her Coronation there by the Father and the Son. 

1st The Death of the Virgin. 

At the lower half of the general composition the Blessed Virgin lies on a bed 
which is separated from the rest of the design by a curtain of many narrow and 
straight folds dependent from three rods above. Her head, resting on two pillows, is 
on our left hand, from whence her recumbent action is directed obliquely downwards 
towards the right. A nimbus with rayed disc is over her head, which latter is grace- 
fully draped with a light cloth, one end of which droops beneath the chin and over 
the chest, the entire face being exposed. The arms are crossed outside the cover- 
let over the abdomen ; the coverlet not being drawn up higher than the bottom of 
the chest, the exposed portion of the latter with the arms appears clad in a close- 
fitting tunic. The drapery of the couch has numerous folds which are decorated 
with white fleurs-de-lis. 

Around the bed are the eleven disciples, those in front of the bed kneel, those on 
tin- other side are standing. At the head of the bed, by the pillow of Mary, stands 
on the distant side, St. John. He looks down with gentle sorrow on the meek 
countenance of the Virgin, and takes from her right hand the shining palm branch 
winch he is to bear before at the time of her burial. St. John holds in his right 
hand a lighted taper. A nimbus with rayed disc is over the youthful head of St. 
John, and a close-fitting tunic over the body. Next to him stands St. Peter (P), 
raising a lighted candle in his left hand and resting his right hand on an open book. 
A large ornamental nimbus is over his head, which is bald in front with the excep- 
tion of a single lock of hair upon the brow. Next to St. Peter stands a disciple 
with a nimbus, the disc of which is rayed, and having a close-fitting head-dress and 
tunic bound round the waist with a girdle. His hand. are raised and joined over the 
chest. A fourth disciple stands with joined hands which proceed from beneath 
the cape of a loose cloak. His nimbus has a rayed disc. A fifth follows holding 
up a censer. Immediately before him, and kneeling at the foot of the bed, is a 
di-riple whose head is somewhat after the conventional type often given to St. 
Peter. He raises the left to his chin to support his head while he looks intently 
towards the Virgin. The mantle is partly open in front, exposing the tunic beneath 
it. In front is a seventh dUciple. knrcling with one knee, or as if rising from a 
kneeling position. He hol<N up with Imtli hand* :in open l>ook. The nimbus has 
an ornamented bonier and rayed disc; the mantle in (lowing and decorated with 
six-rayed stars. The next figure, in rather close-fitting garment, with u girdle at 
the waist, kneels on both knees, raising before him hi> joined hand-. Next to him 



94 PRINTS IN THE MAN IEEE CRIB LEE. 

is a disciple kneeling on one knee and resting his arms on the other knee before 
him. He has on a loose and flowing mantle decorated with six-rayed stars. The 
nimbus has an ornamented border as well as a rayed disc. This disciple is turned 
immediately towards the next and opposite person to him, rather than towards the 
Virgin. This opposite one appears as if sitting on the ground and holds in his 
hands an open book. The next and last figure stands at the head of the bed, by 
its side, and turns towards the back of the sitting figure with the book. He HUM'S 
the joined hands close to the nimbus over the head of the sitting figure. It may be 
observed that all the five figures in front of the bed appear as if joining in a 
religious service rather than as directing their immediate attention to the Holy 
Virgin on the couch. 

2nd. The Assumption. 

Immediately above the head of St. Peter, and with her feet upon the top of the 
curtain, stands the Blessed Virgin in an oval aureole of radiant glory and with 
nimbus on her head, about to be conveyed to heaven by attendant angels as she 
rises triumphant and glorious " like unto the morning " ("quasi aurora consurgens" 
Cant. vi. 9). 

Her long hair waves down to the elbows, her hands are clasped together before 
her chest, a loose mantle is slightly open in front, allowing the tunic underneath 
to be perceived. On each side at her feet is an angel supporting her dress. Above 
them are angels floating with loose mantles in the starry heaven, and as if supporting 
her by the aureole of glory as she ascends. On the right hand of one of the angel* 
of the aureole is an angel playing a harp, above whom is another one playing a 
mandolin. To the left of the other angel of the aureole stands the incredulous 
St. Thomas, to whom an angel from above is presenting the girdle of the Virgin. 

" In early art, particularly in the Gothic sculpture, two or more of these sub- 
jects are generally grouped together. Sometimes we have the death scene and the 
entombment on a line below, and above these the Coronation or the Assumption, 
as over the portal of Notre Dame at Paris, and in many other instances ; or we have 
first her Death, above this her Assumption, and above all her Coronation, as over 
the portal at Amiens and elsewhere. 

" In the Assumption properly so called, we have the moment wherein the soul 
of the Virgin is reunited to her body, which at the command of Christ rises up 
from the tomb. 

" Of all the themes of Sacred Art there is not one more complete and beau- 
tiful than this in what it represents and in what it suggests. Earth and its sorrows, 
death and the grave are left below, and the pure spirit of the Mother again 
clothed in its unspotted tabernacle, surrounded by angelic harmonies, and sustained 
by wings of cherubim and seraphim, soars upwards to meet her Son, and to be re- 
united to Him for ever." (" Legends of the Madonna," pp. 333, 341.) 

For the proper understanding of the various scenes connected with the cleat li, 
&c., of the Virgin, and their peculiar treatment by the masters of the earlier 
schools, it is necessary that the old apocryphal legend connected with them be 
studied. " Although the very curious and extravagant details of this legend were 
not authorized by the Church as matters of fact or faith, it is clear that the artists 
were permitted thence to derive their materials and their imagery." ("Legends of 
the Madonna," pp. 330.) From this legend it would be beyond our pnrpo-e to 
qnote more than the following explanation of the story relating to St. Thomas, 
on the occasion of the Assumption 

*' One among the apostles was absent; and when he arrived soon after, he would 
not believe in the resurrection of the Virgin, and this apostle was the same 
Thomas who bad formerly been slow to believe in the resnrreetion of the Lord; 
and he desired that the tomb should be opened before him. Then Thomas, looking 
up to heaven, beheld the Virgin bodilv in a <_'lory of light slowlv mounting towards 
heaven, and she, for the assurance of his faith, (lung down to him her girdle, the 



DEATH, ETC. OF THE VIE GIN. 95 

same which is to this day preserved in the cathedral of Prato." (" Legends of the 
Madonna," p. 333-) 

yd. The Coronation. 

The starry heavens through which ascends on high the Virgin, are bordered 
above by a semicircle (irregular) of conventional clouds, by which a third and 
uppermost division of the print is left for the subject of the Coronation. Al>ove 
the clouds and on a low throne sits the Blessed Virgin. On her right hand sits the 
Son, on her left the Father, and these place with their hands a crown upon the 
head of the Virgin Mother. Above this crown is seated the Holy Ghost in the 
form of a Dove with outspread wings. 

The Virgin is clothed in a loose mantle and tunic, and joins her hands before 
her on the chest. Her hair waves down below the shoulders. As God the Father 
places with the right hand the crown upon the Virgin's head, He lifts the left 
hand as in benediction. On the Father's head is a decorated open crown, around 
which is a large nimbus with a rayed disc. Over the head of the Son is a cruciform 
and rayed nimbus ; with the left hand He places the crown on the head of His 
MI >t her, and with the right hand holds an imperial orb surmounted with a cross on 
his knees. The Father and Son are draped in large flowing mantles somewhat 
open in front, displaying the sleeved tunics beneath. A circular and rayed nimbus 
surrounds the head of the Dove above the Virgin's crown. Behind the back of 
the throne, on each side, stand three adoring angels, behind whom is a heaven of 
stars. 

" Thus in highest Heaven, yet not out of sight of earth, in beatitude past 
utterance, in blessed fruition of all that faith creates and love desires, amid angel 
hymns and starry glories ends the pictured life of MART, MOTHER or OUR LORD." 
. . . . " Like her Son, she has ascended into glory by the dim portal of the graves 
and entered into felicity by the path of pain. Her Son, next to whom she has taken 
her seat, has himself wiped the tears from her eyes and set the resplendent crown 
upon her head ; the Father blesses her, the Holy Spirit bears witness. Cherubim 
and seraphim welcome her and salute her as their queen 

' At their joy 

And carol smiles the Lovely one of Heaven, 
That joy is in the eyes of all the blest.' " 

(" Legends of the Madonna," p. 353 ) 

The general design which has been described is enclosed in a decorative frame- 
work or border having circular medallions at each angle and in the middle of the 
borders. Between this ornamental border and the pictorial composition is a 
narrow white space. The composition measures nearly loj- inches in height by 
7 1 inches wide. The white space next to it is -f-ths of an inch wide, and the sur- 
rounding decorative framework is 1 J-ths of an inch wide. 

The medallions at the angles contain the emblematic figures of the Apostles 
with scrolls, those in the middle of the borders, the figures of the four Latin Fathers 
of the Church, viz. St. Gregory on the left, St. Jerome on the right, St. Augu-tine 
above, and St. Ambrose below. Between these medallions runs a sinuous line of 
clouds having rays and stars within the curvatures. A narrow dotted border 
run- in-iilc and outside the decorative framework. 

The technical execution of this engraving is of varied character. The drapery 
of the Virgin and of five of the disciples in the lower division is of purcpunctit'rm 
kind. < Mher draperies are lined, frayed, and worked out in white stars from a 

ind hatched as in the roulette manner. 

The ci.urli i- lined and decorated with fleurs-de-lis in white, the under pillow 
with lin-L'e ni-ettes and stars. The faces and hands are scarcely worked on at all ; 
with the exception of the hair and beards, the general forma and feature* only 
arc indicated. The llitor of tin- Death scene is chequered in Mark :uxl whito. 



96 PRINTS IN THE MANIERE CRIBLEE. 

Above in the Assumption dotted work with roulette hatching prevails in the 
draperies, the background being deep black covered with white stars and small 
horizontal white lines. 

In the Coronation scene the entire dress of the Virgin and the tunics of the 
Father and the Son are of pure punctiform character. The mantles of the latter 
are worked out with large white dots on roulette hatching. The background is 
starry and lined as in the scene of the Assumption. 

The original print of the photographic copy now described was, along with 
another engraving ("Mass of St. Gregory," to be afterwards noticed), fixed inside 
the covers of a 44 Biblia sacra Latina," Nurembergiae, Coberger, 1478, which 
was included in the sale of the Perkins' Library in 1 873. This Bible was pur- 
chased by Messrs. Ellis and White of New Bond Street, by whose directions 
the prints were detached, cleaned, and copied, the originals afterwards passing into 
the possession of a well-known bibliophile, Henry Huth, Esq. By permission 
of the latter, copies of both prints were given by the present writer in the second 
edition of his " Introduction to the Study and Collection of Ancient Prints," 
London, 1877, vol. ii. 

X loin.] [Uncoloured.] 




B. 1 6. 

< 

SAINT ANDREW. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 

GERMANY. 
(Apostle, Mart. ] 67 at Patras.) 

PHOTOGRAPHIC copy of a print formerly in the Douce collection. 
St. Andrew stands in the centre of the composition, beneath a 

battlemented Gothic canopy of a highly decorative kind. 

The Apostle is directed somewhat towards our right hand, inclin- 
ing the head very slightly over his left, shoulder. An ornamented nimbus with 
rayed disc is over his head, the latter being clothed with thick hair falling over the 
shoulders ; from the face descends a copious beard divided down the centre after 
the custom of the Nazarites. A mantle covers the shoulders and arms, descending 
on each side to a level with the knees ; it is quite open in front, disclosing the whole 
length of the tunic from the neck collar to the heavy folds which fall upon the 
ground, and from which three toes of the right foot may be seen protruding. The 
forearms are raised and the hands brought forward above the waist to support a 
large cross crux dtciutata the limbs of which decussate over the waist girdle of 
the figure, and reach to the angles of the canopy above and below to the bases of the 
hinder columns. 

The canopy is supported in front by clustered columns which bound the ex- 
tent of the design on each side, and behind by two single column*, from winch 
spring decorated groined arches, forming the vaulted roof of the canopy. The 
background below the canopy and behind the Apostle is covered with a very rich 
arabesque design of leaves and flowers, the larger leaf stalks of which twine up the 
hinder columns, from the bases to the capitals. The foreground is composed of 
squares in perspective, containing quatrefoils within a circle, which are repeated 
M ornaments in the angles of the upper part of the canopy. 

the design and technical execution of this print are of superior character. 



SAINT ANDREW. 97 

Everything is clearly defined, is in right balance, and the drawing of the forms ig 
precise and careful. The drapery is worked out with large punctations and rou- 
Irttc- hatching, as well as with parallel oblique lines. The shadows of the folds 
are strongly marked, and the indications of the lining carefully preserved, as are 
also those of the narrow ornamented borders of the mantle and tunic. The exe- 
cution of the foreground in delicate white lines on a deep black ground is particu- 
larly careful. The work on the Cross consists of delicate parallel lines and of 
small dots on the perspective edges. Dotted technic may be seen on the battle- 
mented top of the canopy. The careful drawing of the head and nimbus, of the 
folds of the drapery, though nicked and angular, shows that the artist was not of 
the ordinary kind. 

[9! x 6| ia] [Uncoloured.] 



B. 17. 
SAINT ANTHONY. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 

GERMANY. 
(Hermit-Saint, -f- 356 in the Theban Desert.) 

PHOTOGRAPHIC copy of a print in the possession of Baron Edmond 
de Rothschild. 

St. Anthony, founder and abbot of the Order of the " Hermits of 
the Desert," from which sprang monachism, stands in the middle of 
print directed in action towards the right. An ornamented nimbus is around 
his head, the latter being covered by a close-fitting cap. He has on a cowled 
mantle open in front, displaying the tunics beneath, from which protrude the bare 
feet. The full beard descends on the cape of the mantle in front ; around the waist 
is a girdle to which a book or lanthorn (?) is attached. The Saint holds in his 
li-ft hand a flaming torch, at the bottom of which hangs a bell. With the right 
hand and shoulder he supports a long staff surmounted at the top with a tan 
cross. Near the left foot of the Saint a little pig jumps up towards him. The 
foreground is grassy and flowery, the background a rich mass of flowers, leaves, 
and convoluted stalks. 

The greater part of the drapery is worked out in dots. In front of the outer 
tunic runs a long strip, in which roulette hatching has been had recourse to. The 
dix- of the nimbus is deep black, as are also the fore and backgrounds, over which 
the flowers and other ornaments are distributed in white. 

In connection with St. Anthony and his attributes, see D. 74- D- 93. 

[7J X 5 in.] [Uncoloure*).] 





98 PRINTS IN THE MANJERE CR1BLEE. 

B. 1 8. 

SAINT BERNHARDINO OF SIENA. 

(ORIGINAL, 1474-) 
(Founder of the Order of the Observants; b. 1380. { 1444-) 

LITHOGRAPHIC copy of a unique print in the Royal Library at 

Paris. 

On a raised dais with a low balustrade behind stands the Saint 

as if addressing an auditory. He looks towards the left of the spec- 
tator. Both arms are forcibly outstretched to above the head, over which is a de- 
corated and rayed nimbus. In his right hand the Saint holds up a large and 
bordered disc, on which is the sacred cipher IHS within a circle surrounded by a 
radiant glory. The upright limb of the H of the cipher is converted into a cross 
by the addition at the top of a transverse bar. 1 In the left hand is an oblong tablet 
or box, on the front of which are the words 

(HiBe, leue, Bulce no [nomen] 
and over the Saint's head a waved scroll, having inscribed on it 

i & 0cp eit i or mo 
[Ihesus semper sit in ore ineo] 

Behind the Saint at the level of his waist runs transversely a straight scroll, on 
which are the words 

Sanet 8 birartrin 8 

St. Bernhardino is dressed in a monk's scanty sleeved and hooded tunic bound 
round the waist with a rope girdle. On his feet are open slippers of skin, a slipht 
beard is present, but the head is shaven. The dais on which the Saint stands has 
a mosaic or tesselated appearance, the lines of which run back in perspective. Be- 
low the dais is a broad border, on which are five lines of inscription, viz. 

3D 0plcnT>or . putitcitir . idator . paupcrtaric . a . 
mator . innocmtie . cultor . tirotnitatio . lustra . 
tor . oapicntic . protector . tocritatto . ante . tfrro 
num . fuIgiTmm . eterne . maceotatio . para 
nofaio . auuttum . Ditiine . pictatto . amen . 



In a narrow border below the above inscription runs a leaf- like ornament, and- 
enclosing the whole is a decorative framework Jths of an inch wide, having circular 



1 " The cipher or monogram diffused by St. Bernard, lost afterwards the ( i< ! !i> 
form of its letters, and was otherwise modified by artists. Towards the end of the 
XVI th . century three nails were added below the central letter. This constitutes 
the fjrm most generally adopted at the present day, and which lias been univer- 
sally spread abroad by the Company of Jesus, of which society it < <>ii>titutc> the 
arms." ("Cahier," vol. i p. 97.) 



SAINT BEENJIARDINO OF SIENA. 99 

medallions containing the symbols of the Evangelists with scrolls at the angles and 
between tin-in :i sinuous line ofrlouds and stars. 

All the inscriptions come white off a black ground. The drapery of the Saint 
and the dais are worked out in punctations, elsewhere lined work may be M , n. 
The ground of the framework is deep black, from which the ornamentation comes 
off white. 

Colour has been resorted to. The Saint's name behind him, the cipher and 
glory, nimbus and tablet, as also part of the dais, are yellow. The initial S in the 
transverse scroll is green, as is also part of the ground of the dais. The wings of 
the symbols of the Evangelist are green and the bodies of two are yellow. Madder 
lake has been applied to the conventional clouds of the frame. 

Below the engraving is the following memorandum in MS. 



"Facsimile du St. Bernard de 1454, estampe gravee en bois, et unique, dans 
la Bibliotheque du Hoi a Paris. Tiree a vingt-cinq cpreuves seulement." 

The subject intended to be illustrated in the present comjmsition is generally 
assumed to be that of St. Bernhardino preaching at Bologna against card playing, 
when he preached " so forcibly that his hearers made a fire in the public place, and 
threw their cards into it. A card-maker who was present, and heard the denuncia- 
tions even against those persons who supplied the obnoxious article, exclaimed, ' I 
have not learned, father, any other business than that of painting cards, and if you 
deprive me of that, you deprive me of life, and my destitute family of the means of 
earning a subsistence.' To this appeal the Saint replied, ' If you don't know what 
to paint, paint this figure, and you will never have cause to repent having done so.' 
Thus saying he took a tablet and drew on it the figure of a radiant sun having in 
tin- centre the sacred cipher I II S." ("A Descriptive Catalogue of Playing and 
other Cards in the British Museum," 1876-77, p. 26.) 

The original of the present copy is a work of particular interest, since it is not 
only "one of the rudest of all rude performances," but has on it the earliest date 
known as yet to occur on a print in the manitre criblee. But what is that date ? 
It has been read as 1414, 1454, and 1474! The present writer reads it as 

1474- 

The print has been considered to have been the work of the same artist who 
produced the well-known engraving of the Madonna and Child in the Paris Cabinet, 
and on which the supposed inscription " Bernhardinus Milnet" has been read. 
S.me have concluded also "the St. Bernard to be a French production as well 
from the French termination of the artist's surname [in the Madonna and Child 
print] as from lii> Christian name of Bernard [in the same print], which belongs to 
a nati\e Saint of France among the most honoured in that country." (" North 
IlrirMi Review," vol. vi. p. 148, 1857.) 

But rude as the " St. Bernhardino of Siena " print is, there is not any valid 

reason for maintaining it to have been one of the earliest examples of its kind; 

is not necessarily a sign of antiquity, especially when standing in the 

!' the probable date of 1474. Secondly, there cannot be much doubt thut the 

:.na and Child and the Sanctu- Hernhardinus are not by the same engraver. 

Thirdly, the illustrious Frem-h Saint \va- St. Bernard of Clairvaux, a Cisten-ian. 

ami not St. Bernard of Siena. BO that not any m-.-r-ary connection need e\Ut l>c- 

t'ne liernhurdinus Milnet" and the " Sanctus Bernardinus," qtoail the 

name of Bernlmrd. 

" The- print of the St. Bernard was discovered about the year l8oO in the en- 
viron- of .Muyciici; by M . Man-, rad, then comnnVai y for the French (M. \crnm< lit 
in the departments beyond tin- Kliine." ( " North British Kc\ic\\." nt <u. 

< 6 6 7 in.] [Coloured.] 




ioo PRINTS IN THE MANIERE CRIBLEE. 

B. 19. 
SAINT BERNHARDINO OF SIENA. 

(ORIGINAL, 1474.) 

LITHOGRAPHIC copy of a unique print in the Royal Library at 
Paris. A duplicate of the example which has just been described. 

The present copy is uncoloured and has on it the following memo- 
randum in MS. 

" No. 22. 

" Facsimile of the unique wood-cut of St. Bemhardin bearing the date of 1454* 
in the Royal Library at Paris. Lithographed at Paris in Nov. 1 8 1 9, at my request, 
under the kind superintendence of the late M. Vanpraet. Only 25 impressions 
taken. N. II." 

[9f X 6J- in.] [Uncoloured.] 

B. 20. 

SAINT CHRISTOPHER. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
LOWER RHINE. 
(Martyr. + 254.) 
(No. 355, WKICEL.) 

||T. CHRISTOPHER, somewhat stooping and with face directed towards 
the right of the spectator, bears on his right shoulder the youthful 
Saviour across a stream, which runs nearly straight from the middle 
distance down the centre of the composition. The Saint as he wades 
tin-, ni'j li the water supports himself on a long tree-stem, the top of which is forked 
and leafless, but along which are the bases of numerous cut off branches. The 
Saint grasps with his left hand the stem immediately below its bifurcation, and 
with the right seizes it at above the level of the left knee. St. Christopher 
supports himself on his left leg and raises the right one nearly out of the wait T. 
He is clad in a mantle and short tunic, the latter stops at the knees, while the 
former appears to touch the water, which curls around the left leg and over tin- 
right foot. The Saint's head is covered at the top by the mantle, from beneath 
which descends thick curly hair. Above, on the Saint's right shoulder and directed 
in action towards the left of the spectator, sits the youthful Christ. Above I IN 
head is a cruciform nimbus with raved di-.-- : IK* holds in the left hand the imperial 
orb, surmounted with the cross and banner of victory ; the left hand is raised as in 
the act of benediction. Tin- right leg of the Saviour. e.. \cred with His mantle, 
lianas over the Saint'- ri-hr -honldcr, the toes projecting from beneath the ed^e of 
the mantle, and meeting the tliiek and curled hair of the Saint a> it lies upon his 
.-houlder. 

On the left liank of the .stream stands the Hermit, holding up a lanthorn in his 
left hand and re-tiii'_' with the right hand on a stiek. Above him and at the 




SAINT CHRISTOPHER. 101 

summit of the bank arc a church, castle, and trees. On the opposite bank of the 
river are half-length figures of two monks, above whom are some buildings ; below 
the monks and quite at the bottom of the design a fox (?) crouches on the grass 
with his face directed towards the Saint. At the upper right hand corner of the 
sky the clouds open, emitting rays of light which descend towards our Lord and 
St. Christopher. 

The banks of the stream are formed of grassy flowery steps rising one above 
the other ; some grass lies also in the immediate foreground. Below the feet of 
the Hermit is a large strawberry plant. 

The general design and work are of a careful but conventional character. 
The mantle of the Saint, of one of the monks, and some parts of the ground and 
buildings are of punctiform technic ; roulette hatching is present in the dress of 
the Hermit, lined and frayed work are observable elsewhere. The various faces 
are but little worked on beyond the contour forms and more general markings ; 
which are yet decisive and expressive. The countenances of the infant Saviour, 
Saint and Hermit are of heavy and rather aged character. The Saint exhibits, 
however, very characteristically his feeling of the weight of the burthen he carries. 
The markings of the muscles, joints, &c. of St. Christopher are positive and hard. 

Colour has been applied. The mantles are pale red; the tunic of St. Christopher, 
the nimbus and hair of the Saviour, portions of the background, buildings, &c. 
are yellow ; the grass, flowers and tree-stem are green. A narrow black border 
encloses the design. 

This example was formerly in the Weigel Cabinet. Weigel remarks concern- 
ing it, " From the character of the folds of the drapery, and from the naturalistic 
manner in which the sky is treated, the print would appear to belong to the years 
1460-1475. The mode of colouring points towards the neighbourhood of 
Cologne. The watermark of the firm paper is a circle." 

[lOj x 7f in.] [Coloured.] 



B. 21. 

SAINT CHRISTOPHER. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Martyr. + 254.) 

PIInTOCR VP1HC copy of a print formerly in the collection of 

Mr. Douce. 

St. Christopher bearing the infant Christ on his right shoulder 

advances towards the right hand of the -pe.-tator through a stream, 

the water of which rise* to the c-J\cs of tin- Saint'* leg*. He grasps :i tre. - 
with hi- left hand, mid witli hi* right one supports the right f.n.t of the infant 
Christ. The tree-stem has two-leafed branches at the top. ami th 
lopped oil' branch.- along its sides. Both mantle ami tunic of S{. Christopher are 
rui-cd above the kuce.s; the end of the former living out at the Saint's right side. 
Mi* hair in thick and wa\\. The infant Saviour on the Saint's right shoulder is 
directed in action towards our right. The head is sliu'htlv inclined o\,-r the right 
shoulder, the look is dim-led upward*, and the left hand raised a* in tin- 




102 PRINTS IN THE MANIERE CRIBLEE. 

benediction immediately above the head of the Saint. Christ seems to take hold 
with His right hand of the Saint's hair. A cruciform nimbus witli raved disc is 
over the head of the former, who is clad in a close-fitting tunic. The water 
through which St. Christopher is wading arises by a very narrow stream, from a 
source or spring in the middle of the bank on the left side of the composition. In 
the stream below are some fishes. Above the source and at the top of the rocky 
bank are two trees with conical masses of foliage of different characters. On the 
top of the bank opposite is a chapel, below which stand.* the Hermit with lanthom 
in the left hand ; before the Hermit is a wattled fence and boarded gateway. The 
foreground and banks are flowery and grassy. The background is plain. Over 
the head of the Saviour is a waved scroll with black ground, on which in white 
Gothic letters is inscribed 

hie , fcttn . munu 8 . cct . tibi pD 

The pictorial design is contained within an ornamental framework extending 
nearly an inch beyond the former. The ornamentation consists of sinuous ara- 
besques of steins, leaves, and flowers. 

lioth design and teehnie of this print are heavy and coarse, yet exception may 
l>e made in favour of the border, which is well and symmetrically drawn, though 
its ornamentation be large in proportion to the interior composition. All the 
draperies, ground, banks, and the lower limbs of St. Christopher are in dotted 
work ; some lined and cross-hatched work may be seen by the folds of the drapery 
and elsewhere. The large staring eyes of both the figures, and the bad drawing 
of the hands of the infant Christ, strike one directly. The pearly flowers on tin- 
foreground and banks have been delicately and carefully executed, as also the 
foliage on the stem which supports St. Christopher. 

[9 X 6} in.] [Uncoloured.] 



B. 22. 

SAINT CHRISTOPHER. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Martyr. -J. 254.) 

PHOTOGRAPHIC copy of a small print formerly in the Doace col- 
lection. 

St. Christopher stands in the middle of the composition and wades 
through a stream, directing his steps towards the left of the sj.ert.-itor. 
His head incline> oxer hi* right shoulder, and he grasps the leafy top of a slender 
trtc-ncm with the left hand and its middle part with the right one. lie i> dad in 
a mantle and tunic which reach only to thekre. -s. His hair waxes oxer the >h,.idders, 
his countenance seems to indicate the heaviness of the burthen whieh he hears, for 
on his right shonhler Mts the infant Saxiour laden with the sins of the world. Ox.r 
the head of the latter is a nimbus with rayed di-r; He is dud in sleeved tunic, raises 
the right hand aU>YC the head .f St. Christopher in the art of bi-nedietion, and in 
the left hand holds an imperial orb surmounted with a en.~*. Christ direels Mi* 
and aelioi, toward* i! , rijit of the sp, ,-tator. On the hank to the 1. ft of 





SAINT CHRISTOPHER. ,03 

the latter is the Hermit with lunthorn, and above him a tree on the opposite bank 
at the middle is also a tree. A black border encloses the composition. Dotted 
work with hatching may be seen in the draperies, banks, and foreground. 

[IT x if [Uncoloured.] 



B. 23. 
SAINT FRANCIS OF ASS1SI. 

LATTER THIRD OF T|IE FIFTEENTH CENTURY. 
GERMANY. 

(Founder of the Franciscan Order of Mendicant Friars, or " Cordeliers." 

J. 1226.) 

X the foreground of a rich flowery and somewhat rocky landscape 
knci-ls the "seraphic" St. Francis, in action directed towards the left 
of the spectator. He is clad in the Franciscan habit, the cowl of which 
is down, and he has the knotted hempen cord around his waist. The 
head is shaven, over it is a nimbus with rayed disc and ornamental border. 
Above the Saint and towards the left hovers the mystic seraph under the assumed 
figure of our crucified Lord. Long wings proceed from the shoulders on the Cross, 
and long wings arising from the loins fold in front over the lower limbs of the 
Crucified. A wreath of thorns is around the brow of the latter. From the wounds 
in the hands, feet and side descend continuous lines of blood drops, which termi- 
nate on the upraised hands of the Saint, on his side and on his feet. Thus we see 
St. Francis Seraphicus receiving the Stigmata. 

St. Francis " after having fasted for forty days in his solitary cell on Mount A 1- 
vema and passed the time in all the fervour of prayer and ecstatic emiteni|.I;ition, 
trail-ported utmost to heaven by the ardour of his desires then he beheld as it 
were a seraph with six shining wings, bearing down upon him from above, and 
between his wings was the form of a man crucified. Uy this he understood to 
IK- figured a heavenly and immortal intelligence subject to death and humiliation. 
And it was manifested to him that he was to be transformed into u resemblance to 
Christ, not by the martyrdom of the lle.-h, but by the might and fire of Divine love. 
When the vision had disappeared and be had recovered a little from its effect, it 
was seen that in his hands, his feet, and side he carried the wounds of our Saviour." 

i;cnds of the Monastic Orders," p. 256.) 

On the rijrht hand to the spectator, sits a cowled monk asleep Leo, a friend 
ami disciple of the Saint he supports his head on his right hand and retains a 
book on his lap with his left hand. On the opposite side runs a stream, on the rich 
lluuery bunk of which stands a heron or some other large wader, and behind it 
aits a hare in the grass. In the near part of the stream some fish are visible. Above 
on tin- left side are some trees, rocks, water, and towered buildings, relieved from a 
patch of clear sky, above which, and running transversely across the whole print, 
are several layers (if clouds with stars amongst them, all treated in a conventional 
manner. Al.nve the sleeping Leo is a large church of Gothic character and some 
tree*. A narrow Muck line as border encloses the composition. 

lioth ilcML'n and execution arc careful and elaborate, the whole forming a 
rnvi-talile specimen of a work in the maniire criblee. The drapery of St. Francis 
i worked out *ystemaf icallv w'tii -mall 'lots and black line in relief for the folds, 



104 PRINTS IN THE MANIERE CRIBLEE. 

the hempen girdle coming off white. The drapery is well cast, but the feet, which 
protrude from behind, are indicated unsatisfactorily. The sleeping monk sits well, 
his action is natural, and the fall of the drapery ia in accordance with the general 
pose. 

The technic is of a mixed character, the original effect of the'early punctiform 
work being broken up by cross-hatchings, &c. The flowers and herbage of the 
banks and foreground are carefully and elaborately worked out. The large bird 
is highly effective, but such cannot be said for the fish ; the water, however, is not 
badly indicated. The foliage on the left is carefully developed, that above the 
sleeping monk is less commendable. 

The paper is fine and firm, and has an anchor with a small crown at the bottom 
in an inverted position for watermark. 

[9 X 6f in.] [Uncoloured.] 



B. 24. 
SAINT FRANCIS OF ASSISI. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 
GERMANY. 

(Founder of the Franciscan Order of Mendicant Friars, or " Cordelier*." 

{ 1226.) 

PHOTOGRAPHIC copy of a small print formerly in the Douce col- 
lection. 

St. Francis, in the habit of his Order, kneels in the foreground, and 
directs his action towards the left. A circular nimbus is over the 
tonsured head. The Saint looks upwards towards the mystic seraph at the left 
hand upper corner of the print. St. Francis raises bis hands (on the palms of which 
are stigmata) towards the seraphic figure of the Crucified. On the right of the 
Saint sits his disciple Leo asleep, above whom seems to run a stream in which is 
a small ship, here rendered obscure by the effect of the colour which has been ap- 
plied to the original print. In the background is an eminence at the summit of 
which are a church and castellated buildings. By the side of the latter is a large 
tree. The ground and banks are grassy and flowery, but all is here very indistinct 
from the effects of the colour on the photographic negative. 

A black border line encloses the composition. Dotted work prevails in the 
ground, roulette-like hatching in the draperies. 

[2f- X 1 j in.] [Uncoloured (copy). Coloured (original).] 





SAINT GEORGE OF CAPPADOCIA. 105 



B. 25. 
SAINT GEORGE OF CAPPADOCIA. 

LATTER HALF OF THE FIFTEENTH CENTURY. 

GERMANY. 

(Knight- Martyr in Lydia. % 303.) 
(No. 335, WEIGEL.) 

the centre of the composition and occupying the greater part of the 
print is St. George on horseback, directed in action towards the left. 
The horse, which is small and out of proportion to his rider, rears the 
forelegs but turns round his head towards the right and looks down- 
wards at the dragon. Around the head of the Saint is a circular nimbus with 
rayed disc. The face of St. George is youthful and beardless, the hair of the head 
full and curly. He is clad in armour and has gauntlets on the hands. From his 
left hip hangs a straight sword. St. George elevating his right arm grasps with 
the hand the handle of a long spear, which he seizes also at its middle with the left 
hand, directing the point of the spear into the mouth of the dragon. The shield 
on the Saint's left arm is large and curved, and exhibits a transverse cross on its 
exposed face. 

At the feet of St. George and of the horse, and in the immediate foreground, 
lie- the dragon on its back ; the body is curved upwards, as is also the curled tail, 
which is placed at the left of the spectator. The dragon's head has long ears, the 
month is wide open, within which is hidden the sharp end of the spear of the 
Saint. The foreground is bounded by a grove of trees which commences at 
a level with the knees of the horse and of its rider. Above is high and hilly 
ground, on the right of which may be seen some buildings of Selene, and on the 
left is the Princess Cleodolinda (or Aja) and by her side a sheep. The prin- 
cess has a coronet on her head, her hair falls down over her shoulders and full 
mantle. 

Dotted work may be seen in the horse, dragon, foreground and background, 
roulette hatching in the horse, lined and frayed work elsewhere. A black border 
line encloses the composition. 

The print has been coloured. The dragon, shield and spear are light red, the 
foreground and trees green ; the dress of the princess and the buildings are madder 
lake. The paper is firm, the watermark not apparent. 

[2| x if in.] [Coloured.] 




io6 PRINTS IN THE MANIERE CRIBLEE. 

B. 26. 

THE MASS OF SAINT GREGORY. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Gregory the Great. Pope. % 604.) 

PHOTOGRAPHIC copy of the exact size of a print formerly in the 
possession of Henry Hnth, Esq. The original formed the Companion to 
the " Death of the Virgin," before described [B. 1 5.] as found pasted 
__ on the cover of the " Coberger Bible " of 1478. 

In the foreground, somewhat to the left, kneels as the celebrant St. Gregory 
before the altar, holding the cup of the Sacrament in his hands. On the same 
plane to our right and turned towards the celebrant kneels the sub-deacon with 
joined hands. Ik-hind and to the left of the Saint stands an ecclesiastic holding 
the tiara on a level with the celebrant's head. To the left of this ecclesiastic 
stands a cardinal with joined hands and downcast eyes. Behind on a moredi.Mant 
plane, and immediately above the head of St. Gregory, stands the deacon, the head 
and shoulders only of whom arc to be seen. The Saint bears the tonsure and a 
circular 'nimbus with raved disc over the head, and is vested in chasuble and all). 
He gazes up at the figure of our Lord. The deacon and sub-deacon are tonsured 
and vested. The cardinal wears the appropriate hat ; the tonsured ecclesiastic 
bearing the tiara is in a hooded gown. 

Ou the altar, which is on the right of the spectator, stands the figure of Christ, 
displaying the wounds in the feet and hands. A cruciform nimbus is over the 
hrad, and a close-fitting cloth about the loins. The aspect of our Lord is some- 
what youthful though bearded; He looks down in tender sorrow on the Saint. 
On each side of the former is a lighted candle on the altar, while from a super- 
altar rises the Cross, bearing several of the instruments of the Passion. 
Around the Cross and grouped together in the background, are busts of tin: 
persons who were engaged in carrying out the condemnation and crucifixion of our 
Lord. On the predella are busts of St. Catherine. St. Ilarhara, and of a female 
Saint with palm-branch, probably St. Agnes. The antependium is diapered, 
having fleurs-de-lis within the lozenges formed by the stripes, and roses on the 
fringed bonier at the top. On the altar is an open book, corporal, and patine. 
The carpet before the altar is powdered with small roses or stars, has a fringed 
border, and i- placed over a parqueted or chequered pavement. 

The action takes place within a Gothic chapel, and beneath two pointed 
arches, the outer supporting columns of which limit the lateral boundaries of the 
composition; other columns being to be seen behind the attendant figures 
on tlie left. Beyond the arches on the left are two broad mnllioned window*: 
on the right the back of the altar and the Cross occupy the space below the 
arches. 

On the capital of the large column on the left is a kneeling angel, having a 
small cross on his head and a scroll in the left hand, to which he points with the 
index finger of the right hand. On the capital of the right hand lateral column 
i- a Saint with nimbus kneeling before a desk, on which is an open book. A 
t>f ll'iwers surmounts the central column of the design. 






THE MASS OF SAINT GREGORY. 107 

Below the latter are six lines of inscription in a kind of church text to the 
following effect 

" /tJotum oit ombufl [omnibus] pro ut inbcnitur in ccrmonpc [ceremoniis] quoD 
D?t0 [dominus] nf [noster] it)0 (lie [ihesus christus] aparutt aemel in flpccic icnio 
oub cfficif piftatic beato QtecoiioDoctoti manifico celebianti cupcr altarc ihrlm [Iheru- 

salein] in mrnte aeia0 [?] qui Betjoeione motue conceaeit ombua [omnibus] bete 

prmtentibuo et confe00i0 quautorDen [quatuordecim] milia anorn [annorum] tie 
tocra inDuIcecia [indulgencia] ct multi alii aBBIarut [?] q' 0m [quorum sunt] rjc" 
milia et 0rptcm ani 36 nie0 Dicentibu0 onubj flcrio quinqj [quinquies] patcrnootcr 
rt 3toe maria coram pmacine pietati0 4- oronibj 0cq ] nbj [et orationibus sequen- 
tibus.j 

The pictorial design and inscription is enclosed within an ornamental frame- 
work or border, extending fully an inch and a half beyond the narrow black line 
limiting the former. This framework is identical with that previously described 
as enclosing the composition of the " Death of the Virgin," B. 15. It would 
appear that one and the same original metal frame was used in printing off the 
central portions of both engravings. In illustration of the subject here repre- 
sented, the following extract from Weigel (" Die Anfange der Druckerkunst in 
Uild mid Schrift," vol. i. p. 154, n. 92) may not be out of place 

" The legend of the Mass of Pope Saint Gregory (590-604), which is well 
known to be frequently represented in connection with a shorter or longer letter 
of indulgence, is founded originally in the account given in the Acta SS. March, 
P. ll, p. 134, No. 19 coll. p. 154, No. 41. It is there stated that a woman during 
the celebration of the Holy Mass refused to acknowledge the bread consecrated 
and used by St. Gregory to be the body of Christ, because she recognized the 
bread as being the same which she herself had brought to the Holy Sacrament in 
accordance with the custom of the time. Thereupon this same bread was, through 
the prayer of St. Gregory, changed into actual bleeding flesh before the eyes of all 
present, and back again into bread. The development of this legend, arising out 
of the desire to confirm the transubstantiation of the bread of the Lord, even 
under the form of the Man of Sorrows rising from a sarcophagus on the altar, 
1 1. -lings to a later period, and may be met with very frequently related in the MS. 
and printed livres cThcures of the xv. and xvi. centuries. M. J. W. Holtrop, 
Maiiumens typvgraphiques dcs Pays-has an quinzieme Siicle, vi. Livraixon, No. 32, 
thus writes in connection with this subject, 'In an Horarium, printed at Delft in 
1480, it is said, when St. Gregory was Pope he said Muss at Rome in the church 
named Porta Crucis before the altar of Jerusalem. At the moment of the conse- 
cration of the body of our Lord, Christ appeared to him as the plate (the Flemish 
representation of the Mass of St. Gregory, which is being discussed) ri-pn- 
IIc was seized with a holy fear and great pity, knelt down and began t<> 
pray witli fervour.' Others relate that St. Gregory implored the visible appearance 
of the Lord during the celebration of his mass, because a man pending the conver- 
sion of the elements had openly expressed his doubts as to the metamorphosis of 
tlu- Bread and Wine into the Body and Blood of Christ." 

Tin- design, drawing, md technical execution of the print now described are of 
Miperior character. The heads of the principal figures are clearly and carefully 
drawn, the countenances are expressive, and the ornaments on the sacred vest- 
ments and altar cloths delicately and symmetrically worked out. All forms of 
work eonini'in to the maniere criblee may be here seen, dotted technic is. liov. 
ni'-t promim-nt. though frequently eoinliined with lined and frayed hatchiiiL', and 
that mei-haiiieal-likc cross-hatching we inchnk- under the term ol'roulette work. 
The letter- of the in-cription are white on a deep Mack ground, ami of a thin 
ithie form. The whole recall* to mind the appearance of a monumental 
/ 

[13} x loin.] [Uncolourcd.] 




io8 FEINTS IN THE MANIERE CRIBLEE. 



B. 27. 
THE MASS OF SAINT GREGORY. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Gregory the Great. Pope. Jfr 604.) 

PHOTOGRAPHIC copy of a print formerly in the collection of Mr. 
Douce. 

St. Gregory celebrating mass kneels before the altar with iip- 

raised head and hands directed towards the left. He is tonsured, and 

an ornamented nimbus is over the head. On the right of the celebrant kneels a 
tonsured deacon in dalmatic, slightly raising with his left hand the chasuble of 
the Saint and looking towards his back. On the other side kneels the sub-deacon 
in dalmatic, directed in look and action towards the front of the celebrant ; he 
supports with both hands a long and lighted candle. 

Behind, and to the left of the sub-deacon, stands a cardinal, bearing the tiara in 
his hands. Behind the latter rise the head and shoulders of another cardinal. In 
the foreground between the celebrant and sub-deacon are some Holy Souls in 
1'urgatory bedded in flames, but looking up, and with hands joined in prayer. 
On the right of the altar stands a cardinal holding a triple cross, behind which 
may be seen the head and shoulders of another cardinal. 

From a sarcophagus on the altar rises the body of our Lord to a level with 
the loins, the top of the cloth girding which is visible. The body is otherwise 
nude and marked with the effects of the flagellation and the nails. The hands 
are crossed in front over the pcrizonium. A wreath of thorns is around the 
brow, a cruciform nimbus with rayed disc encircles the head. The hair falls behind 
over the shoulders. Above the head of Christ rises up the perpendicular limb of 
the Cross, on the transverse bar of which hangs the vesture of our Lord, and 
over the bar on the opposite side are the thirty pieces of silver for which He 
was betrayed. 

On the projecting head of the Cross is a scroll with the letters INRI in 
rererse and of Gothic character. Above the altar, and arranged over the 
background behind Christ and the Cross, appear the various instruments of 
our Lord's Passion, and the busts of the persons concerned in His condemna- 
tion and sacrifice. Over the end of the tomb on the left hang the grave clothes ; 
before the tomb are two lighted candles on the altar, on which are also an open 
book, chalice, and wafer. 

The action takes place under a circular Gothic arch, the supporting columns 
of which form the lateral boundaries of the composition. The ground is parqueted 
or chequered in perspective. 

The drawing and expression of many of the heads in this composition are 
extremely good and indicative of both race and character. The forcible expres- 
sion of the sub-deacon on the left with the candle could not be surpassed in its 
way, and the faces of two of the cardinals in particular speak cogently of the 
quiet yet earnest trains of thought passing through their minds at tin- moment. 

All tin- varietifH nf ti-rhnir common to tlic niuiiierr crihlee mav be (>!'- -rM-d in 




THE MASS OF SAINT GREGORY. 109 

the engraving. Colour appears to have been applied to the original print, which 
has given rise to some obscurities in the copy. 

The original metal plate was not intended to be printed from, being probably 
an ornamental appendage to some piece of ecclesiastical furniture. 

[9J. X 6f in.] [Uncoloured.] 



B. 28. 
THE MASS OF SAINT GREGORY. 

(ORIGINAL, LATTER THIRD OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Gregory the Great. Pope. [604.) 

( EFORE an altar, which with its accessories occupies the entire 
background of the composition, kneels St. Gregory on the left, directed 
in action towards the right. He is vested in a rich chasuble and 
tunic, and wears the tiara, which has a markedly large orb and cross 
at the top. Above the head is a large nimbus with rayed disc. St. Gregory 
raises his joined hands before a large and open book upon the altar, on which may 
be read mtorrcrc BCU0 miderere. He looks up intently at the apparition of Christ 
above. 

On the right hand kneels an ecclesiastic wearing a tippet and biretta, who 
appears to be referring to a book he holds in his hands.. He is directed in action 
towards St. Gregory. To the left of St. Gregory, on a more distant plane, kneels 
an acolyte, who joins his raised hands and looks up to the apparition of the 
Crucified. Above the altar appears the latter subtended on a piece of curtain- 
like drapery, velum or sudarium, supported by a winged angel at each side 
proceeding from clouds and rays of light. The figure of our Lord is seen from the 
abdomen upwards, the hands being displayed to show their wounds, and the head 
inclined somewhat over the right shoulder. A cruciform nimbus with rayed disc 
is over the head, the long hair of which falls over the shoulders. The Crucified 
appears to issue from a circle of clouds and rays of light, on the lower part of the 
drapery or velum, the border of which is decorated with stars. At each side of 
the altar is a tall candle, and on the altar itself is a smaller one on each side, 
between which and the curtain is a conventional altar floral ornament. By the 
left side of the altar stands a tall bell staff with bell. 

By the side of the open book before St. Gregory is a large chalice standing 
on the velum caliciit, whieh is spread out upon the altar. By the upper end of 
the velum is a pyx. Near the edge of the altar at the left hand corner are the 
wine ;m<l water cruet*. Before the altar is a richly embroidered anti-prinliiim. tlie 
l>inl and flower ornaments on which are of large proportions. Aim-, e tin- orna- 
mented back of the altar, the black background is covered with white stars. 
Tin- e;u-|>et hefore the altar is decorated with squares, each square containing a 

lleur-ile-li-. 

In a border below the composition are two lines of inscription in carefully 
executed Gothic characters, to the following effect 

" 9pparicio * rri * facta * brato * rr0orio pape * 
(?) in * ecclta oanctr ciucio * in * ttxruealrm 




no PRINTS IN THE MANIERE GE1BLEE. 

There is much expression in the faces and attitudes of the figures, but both 
design and technic are heavy and laboured. 

All varieties of the munitre criblee work have been resorted to. Most <>t' the 
dotted technic has been afterwards worked over with hatchings. The ornaments 
and decorations of the various draperies have been carefully developed. 

Colour appears to have been applied to the original print, as certain parts 
obscured in the photographic copy testify. 

[9i x 7 f m O [Uncoloured.] 



B. 29. 
SAINT JEROME. 

SECOND HALF OF THE FIFTEENTH CENTURY. 

GERMANY. 
(One of the four Fathers of the Latin Church. Cardinal. [ 420.) 

iT. JEROME is seated at the right of the composition with the 
Lion before him on the left. He is clad in a cardinal's hat, cloak, 
and sleeved tunic. Over the hat is a circular nimbus, in the border 
of which are the words 0anctu0 nrconimuc in white pointed Gothic 
characters on a black ground. St. Jerome leans forward and downward towards 
the Lion, who raises the left paw, which the Saint takes in his left hand. With 
his right hand St. Jerome extracts the long thorn from the Lion's foot. The 
Lion with thick curly mane and elevated tail looks up at St. Jerome with a 
I HTiilinr expression of confidence and thanks. By the side of St. Jerome, and 
above the Lion's head, is*a small reading desk, on which lies an open book with a 
pince-nez, or pair of folding spectacles, above it. 1 Behind the Saint rises a 
Romanesque chapel, at the open door of which may be seen the head and 
shoulders of a tonsured man. 

To the left of the chapel, und on a rocky bank clothed at certain spots with 
trees, kneels St. Gregory again, in penitence and penance. He has opened his 
coat over his breast, which he is about to strike with a stone he holds in his 
right hand. Over his head is a nimbus with rayed disc, a strap-like girdle is 
round the waist. On the ground to the right crouches the Lion, and between 
the latter and the chapel rise the Cross and the crucified Redeemer. Behind the 
Cross runs in the extreme distance a line of houses and of church spires to meet 
the top of the eminence on the left, at the foot of which kneels St. Jerome. At 
this top is a large tree, immediately before which is a small church, and a tree 
is between the church and the left margin of the composition. Before the right 
nuke. I foot of St. Jerome lies the cardinal's hat upon the ground, which below 
is both rocky and wooded. 

The foreground on which St. Jerome is seated with the Lion is parqueted 
or chequered with large squares, each square having six facettes. The sky is 
covered with small clouds, among which fly six large birds; another bird seen 
perched on the small melon-shaped cupola of the chiipel. 

In this design two events in the legendary life of St. Jerome are represented, 
both of which are very frequently thus united. 

1 A friend to whom we pointed this out demurred to this conclusion, consider- 
ing the object in question to be a contrivance for keeping the leaves of a book 
open. 



SAINT JEROME. in 

We read that "one evening as St. Jerome sat within the gates of his 
monastery at Bethlehem a lion entered, limping as in pain, and all the brethrm 
when they saw the lion fled in terror, but Jerome arose and went forward to 
meet him as though he had been a guest ; and the lion lifted up his paw, and 
St. .Jerome on examining it found that it was wounded by a thorn which he 
extracted, and he tended the lion until he was healed. The grateful beast 
remained with his benefactor, and Jerome confided to him the task of guarding 
an A^.s, which was employed in bringing fire-wood from the forest." 

" . . . . The introduction of the lion into pictures of St. Jerome is supposed 
to refer to this legend, but in this instance, as in many others, the reverse was 
really the case. The lion was in very ancient times adopted as the symbol befit* 
tint: St. Jerome from his fervid, fiery nature and his life in the wilderness; and in 
later times the legend invented to explain the symbol was gradually expanded 
into the story as given above." ..." The penitent St. Jerome seems to have 
been adopted throughout the Christian church as the approved symbol of Christian 
penitence, self-denial, and self-abasement. No devotional subject, if we except 
the ' Madonna and Child ' and the ' Magdalene,' is of such perpetual recur- 
rence. In the treatment it has been infinitely varied. The scene is generally a 
wild, rocky solitude ; St. Jerome, half-naked, emaciated, with matted hair and 
beard, is seen on his knees before a crucifix beating his breast with a stone. The 
lion is almost always introduced, sometimes asleep, or crouching at his feet, some- 
times keeping guard, sometimes drinking at a stream." (" Sacred and Legendary 
Art. "p. 171.) 

This is a fine specimen of the maniere criblee, both drawing and technic being 
-e and carefully executed ; the figure and drapery of St. Jerome are par- 
ticularly good. Abundance of dotted work may be observed, and the large white 
lleurs-de-lis on the lined work of the mantle of the Saint at once arrest attention. 
The various modes in which the different forms of foliage are indicated are also 
noteworthy. 

A narrow border of two black lines encloses the composition. This engraving 
attracted the notice of Dr. Waagen, who thus comments on it 

"St. Jerome, represented as very young, is drawing the splinter out of the 
lion's foot : in the background he appears again striking himself before the Cross. 
Tin- architecture is Romanesque; drawing and action are good. The dots ami 
ire-shaped interstices between the lines are larger here than in most plates 
of this kind. Judging from the sharp folds in the drapery the date can hardly 
be later than 1470." ("Treasures of Art in Great Britain," vol. i. p. 287.) 

X 7J- in.] [Uncoloured.] 

B. 30. 
SAINT LAURENCE. 

LAST QUARTER OF THE FIFTEENTH (TATURY. 

CEUMAXY. 

(Deacon and Martyr. % 258.) 
(No. 369, WEIGBL.) 

T. LAUHI'.N'Ci; Mauds directed towards the right hand in tho centre 
of the engraving. A circular nimbus with ravc<i ili>c N over his 
ton-iired head, and reaches to the upper border neloing the compo- 
Mtion ; the long tunic emcrL-iiiL' from below the dalmatic worn bv tin- 
Saint touching the lower bonier. St. Laurence carries in hi.i left hand an tip- 




112 PRINTS IN THE MANIERE CRIBLEE. 

raised gridiron, and in his right a palm branch. The background is decorated 
with delicate and curved flower stalks and large five-petalled flowers. The fore- 
ground is grassy and flowery. A black border encloses the design. 

A very small amount only of punctiform technic can be seen in this print. 
The drapery is worked out in symmetrically executed cross-hatching. 

The arabesques on the background have been carefully developed in white 
off a deep black ground. Colour has been resorted to. The dalmatic is of a lij:lit 
rose tint; the nimbus, palm branch, gridiron, and some of the arabesques are 
yellow, the foreground is green. 

[2f x if in.] [Coloured.] 



B. 3 i- 
SAINT MARTIN. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 

FRANCE (?). 
(Bishop. { 401.) 

PHOTOGRAPHIC copy of a print now in the collection of Baron 
Edmond de Rothschild. 

St. Martin, of Tours, seated on horseback, is in the act of dividing 

his cloak in order that he may clothe a naked beggar. The horse is 

directed in action towards our right hand, while St. Martin turns round towards 
the left and faces the spectator. A large nimbus with rayed disc is over the 
Saint's head, on which is a double-flapped cap with button. He is clad in mantle 
and tunic, the latter being girdled round the waist, and having a fringed edge 
at the bottom. A pointed shoe and long spur may be seen on St. Martin's riulit 
foot. In his right hand is a long straight sword, with which the mantle is to 
be severed, as St. Martin holds part of the mantle with the left hand. On the 
left between the hind quarters of the horse and the border of the i-n^r:i\ injr 
stands a beggar looking up at the Saint. The former is naked with the exception 
of having a small loin cloth and a bandage on the right leg, which is support i-d 
below the knee by a short crutch. From under the beggar's right armpit pro- 
ceeds a long crutch reaching nearly to the bottom of the composition. The hair 
of the mendicant is dressed in a peculiar manner. St. Martin's horse is richly 
caparisoned, the junctions of different parts of the haniess being adorned with 
circular plates marked with a Greek cross, or as the wafer for the Blessed Sacra- 
ment is often marked in the Latin Church. In the background above the rL'lit 
arm of St. Martin and the head of the beggar are the bust and wings of an an-'-l. 
who bears in his hands a large bishop's mitre, the villa, infulte, or pendant lignite 
of which hang down by the side of the Saint's head. The black background i 
decorated all over with large white five-petalled flowers enclosed within drlirnt.- 
white circles connected together by small white trefoils. The foreground is 
grassy and flowery. The whole is enclosed in a black border, alone tin- cour> 
of which may be perceived the signs of numerous small holes by wliirh tin- 
nri'.'inal metal plate was affixed either to a block or to some piece of ecclesiastic*! 
furniture. 

The design and technic are careful and precise, and the original engraving 





SAINT MARTIN. ,13 

must he a covetable example of an early work in the maniere criblee. The 
dotted technic is abundant, and worked out with great regularity, as are also the 
contours of the horse and the features of the Saint. The background has a rich 
effect. From the youthful appearance of the Saint and the character of his action, 
as also from the appearance of the beggar, we are inclined to think this print may 
have proceeded from the French School. 

[7 X 4fin-] [Uncoloured.] 



B. 32. 
SAINT ROCH. 

SECOND HALF OF THE FIFTEENTH CENTURY. 

GERMANY. 
(Patron-Saint. % 1348.) 

BENEATH an arch of a castellated canopy stands St. Rochus of 
Montpellier, habited aa a pilgrim. The cockle-shell is in front of the 
flapped hat, the wallet at his side ; with the right hand the Saint 
supports a long pilgrim's staff, and with the left raises the tunic so a- 
to expose the bubo, boil, or plague spot on the left thigh. Over the Saint's head 
i> a nimbus with rayed disc. His mantle is ornamented with a neat collar, buttons 
and edging at the wrists, breast, and lower part. The countenance of the Saint 
is that of early manhood, the face is beardless, the hair of the head runs down 
to the shoulder in delicate waves. The lower half of the left thigh and leg is 
naked down to the ankle, below which is a loose and pointed shoe. By the Saint's 
right leg kneels a winged Angel in a sleeved and loose habit, pointing with two 
finders of the right hand to the discharging plague spot on St. Roch's left 
thigh. Above the Angel's brow rises a small cross. Close to St. Roch's left 
font is a little dog with a small round loaf of bread in his mouth. The foreground 
is parqueted or chequered with lozenge-shaped forms, and the background consists 
of a fringed curtain dependent by a series of rings from a rod running transversely 
across the print on a level with St Roch's face. The surface of the curtain is 
diapered with rows of white four-leaved flowers, the leaves of which are obtuse 
and lanceolate in alternate rows. Between the petals of all the flowers may be 
seen project ing the small acuminate calycine leaves. At each side of the com- 
positioii between the edge of the curtain and the margin of the print rises a 
slender column, which supports at the top a corner turret of the arched ami 
castellated c:m.ipv. 

The background above the curtain rod and below the three arches of the 
\ is dotted, and shows a small round-headed window Ix-neath each arch. 
Above the top of the canopy the ground is a continuous deep black. 

At the bottom of tin- print is a narrow bonier Jths of an inch wide, having 
in the middle the words $C8 * tOCljUO in white (Jotliic characters on a blark 
ground. The n-t of the border is on-iipied bv delicate arabesque*, white on 
a black ground. The whole is em-losed in a narrow I. lack border, and has been 
worked oil' on a line \et linn paper, tin- watermark being a (Jothie BJ, apparently 
like that figured b\ \Ycigel (vol. ii. p. 167, n. 296) as being present on the paper 
of the l.iiheck edition of the " I >anee !' Death" of 148'). containing wood-ills 
engra\ed in Lower Saxonv some lime previous to thi- dale. 

linth design and tcclmic have been here carefully worked out. though tin- 

1 



114 PRINTS IN TJIE MANIERE CRIBLEE. 

proportions of the Angel and Dog relative to the principal figure arc bad. The 
execution of the mantle of the Saint, chiefly in transverse cross-hatching, is 
noteworthy. 

Tliis engraving is referred to by Waagen in the following terms : 
' St. Rock, a small octavo print : a slender figure as usual pointing to his 
plague-spots. The angel at his feet doing the same is however new to me. The 
heads are very simple and treated in a woodcut style. Above are indications of late 
antique architecture as in the miniatures of the Carlovingian manuscripts. The 
ground consists of a pattern : the folds in the robe of St. Rock are still simple and 
pure, those of the angel already sharp. I should attribute this print to about 
1 460." (Op. cit) 

[7 X 4f in.] [Uncoloured.] 



B. 33- 
SAINT SEBASTIAN. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 

(Patron- Saint. + 287.) 

(No. 385, WEIOEL.) 

'N the middle of the composition stands St. Sebastian of Narbonne bound 
by hw raised arms to a tree. Over his head is a nimbus with r:ned 
disc, a close-fitting loin cloth covers the hips of the otherwise naked 
body. The Saint looks towards the right ; he is slender, beardless, and 
youthful. On each side of him stands a man about to pierce the Saint with an 
arrow; shot by the one on our left from an ordinary bow, by the man on the 
ri.'ht from a cross-bow. Several other arrows are already in St. Sebastian's body. 
Each man is clad in a short close-fitting tunic coat, girded round the waist, and long 
close-fitting hose. One man wears a curved and pointed cap, the other a cap w itli 
the top rounded. The shoes on the feet of each are peculiar, something of the 
shape of small snow shoes ; those on the man with the cross-bow are expanded and 
rounded at the ends, those on the other man are boat-shaped and pointed. 

The tree to which St Sebastian is fixed is topped by four leafy brandies. 
Behind on each side rise hills, on the summit- of which are house and castles. 
Below are rows of trees. The foreground is grassy and flowery. 

The technic of the background is of pure punctiform character. The contours 
of the chief figure are strongly marked, but the rest of the body is simply in white 
reljef from the back and foreground. The knees in all the figures are distinctly 
indicated, the shoes are black defined by white outlines. The herbage of the 
foreground is large in size and strongly expressed. A black border encloses the 
general design. 

The print has been coloured. The grass and trees are green, as are also the 
caps of the soldiers ; the flowers and tunics are of a pale red : the hose of the men 
shooting, the loin cloth of the Saint, the nimbus, hair, &c. are of a yellow colour. 

[4| x 2| in.] [Coloured.] 





SAINT BABBAI.'A. 115 

B. 34- 
SAINT BARBARA. 

SECOND HALF OF THE FIFTEENTH CENTURY. 

GERMANY. 

( Virgin- Patroness and Martyr. [ 306.) 
(No. 362, WEIGEL.) 

T. BARBARA of Nicomedia stands directed in action towards 
the right in the middle of the composition. She supports with her 
left hand and arm a battlemented tower of three stages and conical 
npex, and of which seven windows and a door are visible. In her right 
hand is a book closed by clasps and with bosses on the cover. On her head is a 
rich diadem, and encircling it an ornamented nimbus with black disc. The hair 
is long and falls in waves over the shoulders and arms. She looks downwards with 
slijrhtlv inclined head in pensive thoughtfnlness. She wears both tunic and mantle. 
The former is visible over the chest and upper part of the abdomen, as is also 
part of the waist girdle. The mantle is large and flowing, well cast, falling over 
the ground on which St. Barbara stands, and hiding her feet. The foreground 
is grassy and richly flowery. The background is formed of a fringed curtain or 
drapery diapered with rows of four-leaved roses set in large lo/enges, connected at 
their angles by smaller rosettes. This design is enclosed in a narrow black border, 
beyond which is a clear white space ; ths of an inch at its widest part ; external to 
this is an ornamental framework or border nearly an inch wide. At the angles of 
this frame are circular medallions containing emblematic figures of the Evangelists 
and mx-rihed scrolls. A sinuous line of the conventional clouds common to this 
stvle of Art, with small stars by their sides, runs through the border. Half of the 
latter on the right hand side has been cut away, and the right hand upper corner 
of tin- print is defective, otherwise the piece is well preserved and in good condition. 
( in the white space between the design and ornamental bonier is written in MS. at 
the upper part >9/3&39 223 '31 IR -8 2) 9S9IR33aaa in ornamental capitals. 

The design is rich, and the technical execution careful, but the hands of the Saint 
arc very badly indicated. The technic of the drapery is variously punctiform. The 
ciirtainril background has been very symmetrically and carefully worked out, and 
tin- (lowers of the foreground are like white pearl drops on a deep black ground. 

Colour has been partially applied. Yellow, green, and crimson madder tints 
have been chiefly used, but not any system of colouring has been followed out, 
with the exception of that of the grass and flowers of the foreground. 

A replica of this engraving exists in the Royal Library at Brussels, but it is 
devoid of the ornamental framework. A copy of it may be found in the " Docu- 
ment- I. .iiiM.jraphiijueset Typographiques de la Bibliotheque Iloyalede Belgium-." 
^ ie, 2 Livr. 

[9j X 6; in. i.e. without border.] [Coloured.] 




Ii6 PRINTS IN TUE MANIERE CRIBLEE. 

B.35- 
SAINT BARBARA. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 

r 

( Virgin- Patroness and Martyr. { 306.) 

(No. 373, WBIGBL.) 

f,T. BARBARA stands in the middle of the design, directed in ac- 
tion towards the right. She supports with her left hand a castel- 
lated tower, in the lower and open part of which is exposed an osten- 
sorium containing the Blessed Sacrament. A long palm branch which 
reaches to the top of the engraving is in the Saint's right hand. A diadem and 
nimbus are over the head, the long hair of the latter falling down over the shoulders 
to below the hips. The Saint has on both tunic and mantle. The foreground is 
slightly grassy, the background is enfloriated with arabesques. At the bottom of 
the design is a border on which are inscribed the words " &ant barfaara " in white 
pointed Gothic characters on a black ground. The whole is enclosed in a com- 
paratively broad black border. 

The design is somewhat stiff in character, and the technical execution not 
beyond the ordinary kind. Dotted work may be seen in the foreground and 
drapery. 

Colour has been resorted to. The drapery and flowers are of crimson madder 
tint ; the nimbus, diadem, tower, &c. are of a yellow hue. 

[if X 1 1 in.] [Coloured.] 



B. 36- 
SAINT BARBARA. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 

GERMANY. 
( Virgin- Patroness and Martyr. { 306.) 

PHOTOGRAPHIC copy of a print formerly in the Douce collec- 
tion. 

St. Barbara stands in the middle of the composition, dim ted 
iu action slightly towards the right. She holds in her left hand a 
chalice, from which issues the sacred Host; with the right hand she supports some 
folds of her large and heavy mantle. The latter is open in front disclosing tin- 
tunic over the chest, and below above the feet. A diadem and nimbus encircle 
the head, the lon^' hair of which waves over the shoulders and arm*. On the Irft 




SAINT BARBARA. ,17 

<>f St. Barbara rises a tower from the ground. Two of its sides are visible : it has 
a sharp pyramidal top capped with a boss. Two windows are represented. The 
foreground is grassy, the background decorated with sinuous arabesque-like leafy 
stalks. At the upper part of the print is a comparatively broad border, on 
which are inscribed the words ftancta barbara in white pointed Gothic characters on 
a black ground ; this inscription is in reverse. A border of black and white lines 
encloses the composition. Along the upper and lower parts of this border may be 
observed circular marks, resulting from nail or screw holes in the original metal 
plate through which the latter was affixed to some piece of ecclesiastical furniture. 

From the reverse character of the inscription, and from the principal action 
being performed with the left hand, it is most likely that the original engraving 
was intended to be a decorative plate and not to be printed from. 

The attitude of the Saint is good, and the drapery is well cast. The technic 
is careful scarcely any pure dotted work is to be seen; black grounds and 
oblique parallel hatchings are most prominent. 

[SfXlfin.] [Uncoloured.] 



B. 37- 
SAINT CATHERINE OF ALEXANDRIA. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

SVVABIA. 

(Virgin-Patroness and Martyr. { 307.) 
(No. 364, WEIGBL.) 

||T. CATHERINE stands in the middle of the composition, directed 
in action towards our left. Her head is inclined slightly over her right 
shoulder as she looks passively downwards at the wheel and sword at 
her right side. Her right hand rests on the top of the hilt of the long 
straight weapon which stands before the wheel, while the left hand holds a book 
projecting from beneath the mantle as it falls over the left arm. A diadem is on 
the head, over which is also an ornamented nimbus with black disc. The hair is 
long and wavy, falling over the shoulders to the elbows. The mantle of St. Cathe- 
rine with its ornamental border is open down the front, allowing the tunic with 
it< collar and girdle to be seen ; the tunic with its decorative border lies in folds 
upon the ground and conceals the feet of the Saint. The wheel is entire and rises 
to the level of the knees. 

Immediately below the point of the sword, in front of the wheel, springs an 
arabesque-like floral stem from the ground, which soon divides into two branches; 
OIK- branch running up the circumference of the wheel on each side, separates 
from it at the top and becomes distributed in a sinuous manner over the back- 
ground on the left of tin- Saint. On the rijrht side of the latter a single stalk 
springs from the ground, which is distributed in a like manner over the background 
on the same side. In the spaces formed by the curved branches of these leafy 
Malks or stems archive tive-jietalled (lowers, in the centres of whicli project <>varia 
of from five to MX cells. The foreground is grassy and flowery and has on it three 
iicrry plants in fruit. A well defined black bonier cnclo-es the design. The 
latterwasformerlv surrounded by an ornamental framework or bonier. Thelatterhms 
been separated from the hodv of the print, and is now placed in detached pieces 




ii8 PRINTS IN THE MANIEEE CRIBLEE. 

around it. The border is composed of a sinuous arabesque of leaves and flowers, 
and of four circular medallions containing the symbols of the Evangelists. 

The general effect of this engraving is of a highly rich and ornamental cha- 
racter, in part produced by the careful colouring which has been resorted to. The 
drawing, with the exception of that of the hands, is relatively good, the teclmie. 
sharp and clear. The features are strongly marked and heavy ; the folds of the 
drapery sharp and angular. The eufloriation of the background and border 
stands out in strong relief from the deep black background. The details of the 
foreground are well made out and clear. 

The mantle, some flowers and fruits, and the sword handle are of a madder 
red colour. Other flowers are white and yellow ; the diadem, border of the nimbus, 
hair, sword, wheel, &c. are yellow ; the grass and arabesque stulks are green. 

This print was formerly in the Weigel collection. It is remarked of it by its 
previous possessor, " The colouring points decidedly to Swabia as the place of its 
fabrication, and the folds of the drapery indicate the third quarter of the 15th 
century as the time of its production." (Op. cit. vol. ii. p. 289.) 

[6| X 4{ in. without border.] [Coloured.] 



B. 38. 
SAINT CATHERINE OF ALEXANDRIA. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 

( Virgin-Patroness and Martyr. [ 307.) 
(No. 353, WBIGEL.) 

[T. CATHERINE stands somewhat proudly erect, slightly directed 
in action towards the left of the spectator. She is placed beneatli a 
Gothic archway, the supporting columns of which form the lateral 
boundaries of the composition. She stands upon the spokes of a broken 
rheel, the left hand portion of which only is visible, the right portion being hidden 
by the bust of a man, probably the Emperor Maximin or Maxentius. Enein-lin^ 
St. Catherine's head are a diadem and ornamental nimbus. The hair falls over 
the shoulders to the waist. With her right hand the Saint raises some fold> of 
an ample tunic, beneath which may be seen at the bottom partof another robe. Of t lie 
external drapery or mantle scarcely more than the edges are visible. The tunic has a 
collar and is girdled around a very high waist. St. < 'atherine places her left hand on 
the handle of a long, straight, double-edged sword, the point of which dc-ccnd- i,. 
the lower portion of the print. Between this sword and the lower part of the ri-ht 
hand column rises up the bust of a bearded man, who looks towards the sword. A 
low stiff cap is on his head, a fur tippet over his shoulders, and a chain around his 
neck. In his right hand he carries a kind of nceptre or weapon, the top of which 
seems to be a fleur-de-lis, but from its pa^siiiL r In-hind the broad blade of the sword 
is seen but incompletely. The background is formed of a fringed eurtain. which 
hangs down from a rod running transversely just above and behind the capitals of 
the lateral columns. The curtain is diapered with rows of large whin- four-leaved 
flowers, between the leaves of whieli project -mall white points. Above the rod of 
the curtain is a small portion of deep black ground powdeml with white stars. 




SAINT CATHERINE OF ALEXANDRIA. ng 

The nimbus, diadem, face, hair, and hands of the chief figure are very delicately 
and can-fully i-iiLrnivrd, mid the drapery in parts is well cast. The columns, arches, 
curtain, and sword are either clumsy or less carefully executed. Pure dotted work 
may be seen in the lower robe of the Saint and in the tunic of Maxentius, and cross- 
hatching overworked with dots in the tunic of St. Catherine. A black border 
encloses the general design. 

Some pale colour has been applied. The draperies are of faint red and yellow 
tints, the mail's cap and parts of the curtain are green, as ia also the chequered 
titivirnnmd. From the character of the hair and draperies the print may be allotted 
to the third quarter of the fifteenth century. 

[4|- x 2\ in.] [Coloured.] 



B. 39- 
SAINT CATHERINE OF ALEXANDRIA. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 

( Virgin-Patroness and Martyr. [ 307.) 
(No. 372, WEIGEL.) 

. CATHERINE stands directed towards the right hand of the 
spectator, the nimbus encircling her diadem touching the upper limit 
of the print, while her right and pointed foot, protruding from beneath 
the tunic, is fully the eighth of an inch above the lower margin. The 
long flowing hair of the Saint descends on her right side to below the knee. The 
mantle is open down the whole length in front, exposing the tunic and collar. A 
closed book is in the right hand of St. Catherine, and her left is placed on the 
handle of a long straight sword, passing downwards and before an unbroken wheel 
at the lower right hand corner of the engraving. At the tipper part of the latter 
runs a transverse border cut in half by the nimbus of the Saint Within the left 
half is the letter S ; in the right, the word featbf r in pointed Gothic characters 
white on a black ground. On the background are sinuous arabesques ; the fore- 
ground is grassy and flowery. 

Small dotted work is on the foreground. The mantle is indicated by cross- 
hatchings, and the tunic by cross-hatchings overworked with larger punctatious. 
The general border line has been cut away. 

Tin- l.air. diadem, sword, wheel and part of the drapery have been coloured 
yellow ; parts of the foreground and arabesques green. 

[if X ijin.] [Coloured.] 





120 PRINTS IN THE MANIERE CRIBLEE. 

B. 40. 
SAINT CATHERINE OF ALEXANDRIA. 

(ORIGINAL, THE FIFTEENTH CENTURY.) 
GERMANY. 

PHOTOGRAPHIC copy of a print formerly iu'the cabinet of Mr. 

Donee. 

St. Catherine stands in an erect but constrained position, dim-ted 

towards our left. Her head is inclined over her right shoulder, and is 
encircled by a rich diadem and large nimbus, with decorative border and black 
disc. The hair falls in waves below the shoulders to the elbows. With the right 
hand St. Catherine supports a broken wheel, the weight of which pressing on 
the chest causes the body to be thrown backwards to support it. In her left hand 
is a long, straight and pointed sword, which lies across the left shoulder. She is 
clad in a large mantle, which trails upon the ground ; it is open over the chest 
and upper ptrt of the abdomen, exposing the tunic, with ita collar and waist girdle. 
The mantle is fastened at the neck with a brooch or morse, after the manner of a 
cope. The background is uniformly diapered with pearl-like drops in lozenges, 
connected at the angles by other drops, all brightly white, on a black ground. 
The foreground is grassy and flowery. A narrow white border line encloses the 
design. Beyond this is an ornamental border nearly ths of an inch wide, the 
general ground of which is black. At each angle is a large five-leaved flower, each 
petal of which is rounded and nicked in the centre; in the middle is an inner 
whorl of five petals. Between the angles run lines of sword- shaped leaves, sheath- 
ing at the base, and having lateral branches bearing five small rounded buds. 
Beyond thia border is a white space, |-ths of an inch at its widest part ; to this 
succeeds the ornamental framework or border of clouds and stars, with medallions 
of the Evangelists, which is so frequently met with in the larger specimens of 
this style of engraving, and has been before described. 

"With the exception, perhaps, of part of the mantle, the execution of this piece 
may be said to be of superior character. The head and its attributes, the back- 
ground and the inner ornamental border, are most satisfactory. We suspect colour 
has l>een applied to the original. 

[9X6J in.] [Uncoloured.] 




SAINT DOROTHEA OF CAPPADOCIA. 121 

B. 41. 
SAINT DOROTHEA OF CAPPADOCIA. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 

(Virgin-Martyr. 4- Third Century.) 
(No. 363, WEIGBL.) 

T. DOROTHEA stands directed in action towards our right. She 
looks down in pensive thought, the head inclined over her left shoulder. 
A large and rich diadem is on her head, the whole being encircled by 
an ornamented nimbus. Her hair is thick and long, and streams down 
over the shoulders and right arm to below the elbow. 

With the left hand and arm she supports a basket, from which rises a large 
flower stalk bearing several blossoms, two of which are of three petals, and are 
larger than the rest; with the same hand she sustains also several folds of her mantle. 
Tlie right forearm is bent on her waist, and with the hand she holds upright a 
flower (rose ?) of three expanded blossoms before her breast. St. Dorothea is 
cla<l in mantle and tunic, the collar and waist girdle of the latter being shown. 
The folds of the mantle are very heavy, and descend and lay upon the ground ; the 
latter is grassy and flowery. The background is richly entloriatcd with sinuous 
pearly branches and large cruciform flowers. 

The drapery is worked out with punctations, the lining of the mantle where 
visible has been crossed-hatched and overworked witli large dots. The drawing 
and engraving of the head and attributes are of superior character, and the highly 
ornamental background leaves nothing in its way to be desired. A narrow black 
bonli-r encloses the design. 

The engraving has been coloured. The nimbus, diadem, basket and some of 
the flowers of the background are yellow ; the foreground flower stalks and some 
of the flowers on the background are green. The lining of the mantle is of a pale 
rose tint, and the rose blossoms in the Saint's right hand and the larger blossoms in 
the basket are of deeper rose colour. The colouring may be said to have been care- 
fully performed. 

In all essential points of drawing, general design, attitude, and even of the folds 
of the drapery, this figure of St. Dorothea is like that of St. Barbara before de- 
scribed [B. 34]. 

The attributes are different, of course ; and this change has necessitated some 
special alterations. But speaking generally, it may be said that the one is a copy 
of the other as far as the figure is concerned. The design on the ornamental back- 
ground is different in each, though it may be observed that there has been, as 
regards both, a like desire to imitate the decorative style of the miniatori in many 
illuminated manuscripts. 

The putic titurin technic iti the drapery of St. Dorothea is of larger kind than 
that in the mantle of St. Barbara. 

The present engraving is devoid of the ornamental framework with which the 
St. Barbara is provided. 

[7J. x 4j in.] [Coloured.] 




122 PRINTS IN TUB MANIERE CRIBLEE. 

B. 42. 
A FEMALE SAINT. 

(ORIGINAL, THE SECOND HALF OF THE FIFTEENTH CENTURY.) 

GERMANY. 

PHOTOGRAPHIC copy of a print formerly in the Douce collection. 
A female Saint draped in mantle and tunic stands in action slightly 
directed to the right of the spectator. Her head is inclined over her 
left shoulder, and the long hair falls down below the right arm. An 
ornamental nimbus encircles the head. The Saint's right hand supports apparently 
a book (though this attribute is doubtful) against her chest, while the left ham! i- 
brought forward, and touches the top of the book. The mantle is raised up In-low 
the latter, and thrown across the left arm. The folds of the long tunic beneath tin- 
mantle fall on the ground, and conceal the feet. The foreground is grassy and 
flowery, the background enfloriated with arabesque-like tendrils and flowers, white 
on a black ground. 

The face is rounded in form ; the drawing of the nose and mouth very inferior. 
The right hand also is particularly bad. Thetechnic is laboured, but the enfloria- 
tion of the background has been carefully executed. The work in the drapery is 
cross-hatching, overworked with punctations. The edges of the folds are in high 
light, and throw deep shadows. 

From the appearance of the nimbus, hair and foreground, it may be presumed 
that the original print was coloured. 

[5 x 2| in.] [Uncolouml.] 

B. 43. 
A DUEL BETWEEN A MAN AND HIS WIFE. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 398, WHIG EL.) 

|N a flowery bank stand nearly naked a man and his wife about to fight. 
On the right hand (to the spectator) stands the man, directed in action 
towards the left. In his right band he holds a long club, which is throwi 
over his shoulder and behind his back. His left arm is extended, ami 
he holds in the hand a curved buckler with the concavity outwards ; a large 
scimitar hangs by his left side. Above the man's left arm is a small cloud, from 
which dart rays of light towards the buckler. Above the cloud and the man's 
head runs a broad scroll of two compartments, in which are inscribed in li 
white Gothic letters on a black ground the words 

<flt . cotra Iccrm 
r. rccere r. ree?. 




A JUDICIAL DUEL. 123 

By the man's side, and close to the boundary of the composition, rises a bar or 
]>~t nearly as high as his shoulder. Below his left foot, in the foreground, it a 
shield, on which are represented two clubs saltire. 

On the left hand stands his wife opposed in fighting attitude to the man. Her 
Ivt'i leg and arm are widely stretched out. She holds in the left hand a curved 
buckler with the concave surface outwards. A scimitar hangs at her left side, 
passing behind the thigh and knee-joint. A sort of veil or shawl hangs down from 
the It-It shoulder and passes in front of the pubes, but the damage the print has 
ri'fi'ived renders further description of the figure impossible. Above the figure 
is a scroll, like to but somewhat larger than that on the opposite side. On thin 
scroll is inscribed in characters as before 

<0t , tibi . ia . mirutn . 
multere . rcccrc , bit . 

Tin-so words must be regarded as a question which is answered by the words in 
the man's scroll. 

Between the two figures is a tablet on which is the word brucfo. From below 
the tablet hangs a suspensorium. In the margin at the top of the print is the word 
"Intilbret" in MS. 

Both the design and technical execution of this piece are noteworthy. The 
forms are well delineated and are of expressive character. The action and 
drawing of the woman's left lower extremity, with its well-marked knee-joint and 
good foot, should not pass unnoticed, nor should the head and torso of the male 
figure. The background being white the figures relieve themselves therefrom in 
strongly-marked black contours. The scrolls, bucklers, and other adjuncts also 
come black off* the white ground. There is but a small amount of punctiform 
technic present, and this is to be seen in the scarf of the woman, in the end of the 
scroll above her, in the bucklers, the man's club, and in the suspensorium. 
The grassy foreground, with its small pearly flowers, is specifically that of the 
more characteristic varieties of engravings in the maniere criblee. 

This example may be adduced as easily showing what is intended to be ex- 
pressed when it is stated that prints in the maniere criblee have been engraved 
often both in intaglio and in relief. For instance, the letters on the scrolls and the 
flowers and grass on the foreground have been engraved in intaglio i.e. their forms 
have been cut out of the original metal plate, while in the figures the forms are 
indicated by the black outlines which were left in relief. It is true that all the 
black, and therefore the inked parts of the impression were in relief on the metal, 
but as far as relates to the expression of the forms, it may be considered to have 
been evolved on opposite principles. 

Traces of a boundary line may be observed at the upper part of the print, and 
from the effects of some ink on the background between the scrolls and near the 
knee of the woman, it may be assumed that this ground was not cut very deep in 
the original metal. 

Some colour has been applied to the impression, chiefly on the foreground, 
bucklers and weapons. The paper does not show either wire-marks or water- 
mark. '1 In- I'nrras of the swords and of the shield below the male figure point to 
circa 1480-1490 as the period of the production of the engravim:. 

The present example is one of the few works in the maniere criblre which ilcul 
\\itli a profane subject, scriptural and pious topics being those with which this 
particular form of technical work is generally occupied in illustrating. 

The composition before us is a humorous interpretation of the old German 

" Wril>erkani]>fes," or woman's tliifl. When a man had offered violence (Notnunft, 

or now y<>t/i;n<-fi() to a married woman or to a near relative, the woman, in rc- 

e fur the injury she had received, could demand a duel with the nuthor t' tin- 

.It. The rules regulating such a procedure, the dress of the combatants, the 

weapons to be employed, the after punishment to be undergone by the person 



124 PRINTS IN THE MANIERE CRIBLEE. 

who was defeated but not killed in the duel, all varied at different times and 
places. This subject of the Old Teutonic " Weiberkampfes " is both curious 
and interesting. Details in connection with it may be found in an article in the 
" Archseologia," vol. xxix., 1842, p. 348, entitled "Some Observations on Judi- 
cial Duels as practised in Germany," by R. L. Pearsall ; and in the second volume 
of Weigel and Zestennann's " Die Anfange der Druckerkunst," vol. ii. p. 323. 

It may not be out of place to observe here, however, that the duel in question 
was a very serious affair, being far from either the " face*tie ancienne " of M. Leber 
("Catalogue des Livres, etc.," Paris, 1839), or "the manner in which matrimonial 
quarrels were thus brought to an arrangement" of Mr. Pearsall. 

The print immediately under consideration is, as before observed, a humorous 
translation of the matter, and not a representation of the true and serious 
" Weiberkampf." It jocosely employs the " Woman's Duel " as a battle for the 
mastery of the house, or as to " who shall wear the breeches." This is prove 
by the word " bruch " on the tablet above the suspensorium, and by the lines in- 
scribed on the scrolls above the figures. 

This piece is alluded to by Passavant, vol. i. p. 95. 

L [5f X 4i in.] [Coloured.] 



The examples next to be described have been retained under the present 
division, notwithstanding they are so decidedly wanting in some of the positive 
characters of the maniere criblee, and that scarcely any punctiform technic 
except in the back ground of one of them has been employed in their manipula- 
tion. With this admission, however, it must be remarked that in several other 
respects the style and technic of these prints are those of the class of engravings 
now under consideration. The expression of certain of the forms by intagliate 
work, while others are indicated by lines in relief; the roulette-like cross-hatch- 
ings in the shadows ; the ornamental backgrounds ; the black grounds from 
which the inscriptions are relieved in white, and the ornamental framework or 
border, all to be found in one or other of these examples suggest in a very marked 
degree the style of the maniere criblee. Further, the original engraving has 
been performed on metal plates, and the general feeling and style of the compo- 
sitions are those common to the works of the present division. 



B.44- 
CHRIST ADORED BY A MONK. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY (?). 
(No. 444, WEIGBL.) 

j\ the left hand side of the composition is the half length figure of our 
>;i\iour naked to the loin cloth, the top of which ju-t rises over eaeh 
hip at the lower limit of the engraving. A floriated cruciform nimbu.s 
with rayed disc is over our Lord's head. The eyes arc dim-to! 
downwards; the aspect is that of death. The waved hair falls on the shoulders, 
the hands are brmiL'ht forward and crossed at the wrists, showing the nail holes, 
and the puncture from the soldier's spear is represented at the right side of the 




CHRIST ADORED BY A MONK. 125 

chest with blood drops issuing from it. By Christ's left side and above His head 
ri-i-s the Cross, at the top of which is a scroll having on it in large letters I N R I. 

Below at the right hand corner of the design is the bust of a tonsured monk 
perhaps St. Benedict who, with raised and closed hands, looks up at our Lord 
as if in adoration. From the mouth of the monk proceeds a scroll, on which are 
the words MISKRK MKI FILI DAVID/ MATHEI xv. in Roman capitals. 

The background in composed of a floriated curtain or piece of tapestry, the 
ornamentation of which is of large design. Narrow white and black border lines 
enclose the composition. 

This print formed part of the Weigel collection. Its former possessor 
observes (Op. cit. p. 377) in respect to it, "This interesting metal cut 
undcscribed by Passavant has a very old look, and also exhibits in the technic 
peculiarities which remind one of the ' Schrotkunst ' or manitre criblee. The 
body and face of the Saviour are throughout shaded with -mall four-cornered 
dots, which, however, are not irregularly disposed, but are arranged as a series of 
very close cross-hatchings. A similar hatching may be seen on the hood of 
the monk's cloak, while on the rest of the print simple strokes only have 
been employed. The composition and drawing are not without merit. The 
figure of the Saviour is expressed with earnestness and dignity. The nose and 
eyes are sharply cut ; but the mouth, which is indicated by means of small strokes 
and not by contour outlines, is less satisfactory. Further, the body has not that 
leanness of the old type after which the Saviour was represented, but is of fuller 
form, implying in the artist knowledge of the figure. The monk appears too 
small in proportion to the size of our Lord, but the joy of ardent worship is mani- 
fested in his countenance, though incapable of the fullest expression from the 
profile form of the face." 

[4| x 3f' n -] [Uncoloured.] 



B. 45- 

AN ANGELIC SALUTATION, WITH A HUNTED 

UNICORN TAKING REFUGE IN THE 

LAP OF THE VIRGIN. 

SECOND HALF OF THE FIFTEENTH CENTURY. 
PAYS-BAS, OR LOWER RHINE. 




a palisaded garden on the left of the composition the Virgin 
is seated, directed in action slightly towards our right. She is clad in 
a large mantle, the many folds of which are spread over the ground 
t her feet. It has an ornamented bonier and collar, the latter 
<1 by a morse or rose-like brooch at the neck. The mantle is open in front, 
displaying the tunic and waist girdle beneath. A circular niinbua is over the 
Virgin's head ; it has a narrow white border and deep black disc ; on the higher 
circumference of it are the words . ectt aitCllla . Domini . in sharp white Gothic 
< -harac -ti T-. Tin- hair i< long, and falls down over the shoulders to the elbows. 
Tin- Virgin places the lingers of llie right hand lightly on the enl of the horn ..(' 
a unicorn, \\hich has run to her as if seeking -h. her at her knees. Her left 
hand i> plaee| near the nerk of the animal, which has ita forelegs advanced ..\, r 
tin- Virgin's mantle, and its hind ones near the palisade of the garden towards the 
right. The pali<a.le i- e.,iiipo-cd of a series of low shaqi- pointed palings fixed by 



126 MODIFICATIONS OF THE MANIERE CBIBLEE. 

a row of nails at the top and bottom. Within the garden and to the right of the 
Virgin immediately above the back of the unicorn is the hexagonal base of a 
small cistern of water, over which is a scroll with an inscription in reverie, the 

fn>t word of which is perhaps fon0 ; the second ? 

On the other side of the Virgin, and on the ground near her mantle, is the 
representation of a fleece, over which runs a scroll bearing the words toflluo 
QrDiont0. Above this and by the Virgin's right shoulder is a vase with a handle 
containing pieces of gold. At the side runs a scroll, on which is inscribed 
uma aurra. Above runs the upper palisade of the garden to the middle of 
the Virgin's nimbus, at which point rises from within the garden a circular tower 
having an upper storey or stage, with a melon-shaped top. In the lower storey of 
the tower three windows may be seen ; in the upper storey two only. To the 
right of the upper part of the tower is a scroll, the first word on which is porta, 

the second P On the left of the tower appears the upper part of the figure 

of Christ, the lower part of whom is hidden by the garden fence. He appears to 
issue from a mass of small tongues of name, which are intended to represent, 
however, the burning bush of Moses. A cruciform nimbus with black disc 
encircles our Lord's head; He raises the right hand as if in benediction as He 
looks down on His earthly mother. The left hand is raised also. Between our 
Lord and the left hand border of the print is a scroll, with the inscription rufauo 
mopo (?). Below this scroll is a large star (?). On the opposite side of the tower 
to Christ, and within the garden, is an altar (or ark of the covenant?), on which 
are placed perpendicularly twelve rods, diminishing in height gradually on each 
side from a chief central rod, which is surrounded by leaves and flowers, and on 
which has descended a dove. On a scroll to the right of these rods are the words 
toirga aaron. The palisade of the garden curves round behind the altar until it 
meets on the right the entrance door or gateway of the garden. This doorway 
has a narrow tiled roof, below which a long hinge is visible. Outside this cl>-el 
door and between the garden paling and the right hand border of the print kneels 
an angel (Gabriel) on one knee. He is winged, draped in a large cope-like 
mantle, and directs his action towards the Virgin on the left. With the rijrlit 
hand he applies a hunter's horn to his mouth, his cheeks being distended as in 
the act of blowing. From the horn descends a long scroll, on which is the 
inscription in reverse abf gratia plena Unfl tcm. In his left hand the angel-hunter 
holds a long spear, the upper end of which rests on his left shoulder, while the 
lower end touches the garden paling. Below the angel and outside the paling 
are three dogs with collars, springing towards the unicorn, who has escaped into 
the garden. The dog in the middle has a strong cord attached to his collar, the 
end of this cord being held by the angel with his left hand. From the mouth of 
each dog proceeds a scroll. On the scroll of the dog most to our right hand is 
apparently the word taotitae, on that of the dog held by the angel perhaps the 
word tirntao. while on the scroll of the dog in the immediate foreground is the 
word bnilitac. On another scroll lying on the ground between the palisade of the 
garden and the lower margin of the engraving are the words onus jclus (lion us 
conclusus). The foreground is bedecked with large flowers. In the background 
above on a kind of rock at the right hand upper corner of the composition are 
everal buildings with gabled and tiled roofs, enclosed within a wattled fencing. 
The whole is enclosed in a narrow black border. 

The technical execution of this print is, in its peculiar way, of a striking :tnd 
superior character. Every part has been carefully worked out, the " quality " of 
several objects represented has l>een attempted to be given, and the whole has a 
very rich eflcct. though flat and of an ornamental goldsmith-like character. Not any 
punctiform work is to be seen in the engraving, but in other respects tin 1 ;:em. 
M \ le and feeling of the print are such as to authorize its position in the place which 
li.i- been allotted to it here. 

The paper is fine yi-t firm, and hn a Gothic IP for watermark. 



THE VIRGIN AND UNICORN. 127 

The subject and composition of this example are peculiar and unfrequent; the 
print is in several respects one of more than ordinary interest, meriting some further 
illustrative remarks. The impression under notice was formerly in the collection 
of the Kevercnd Joseph Maberly, the author of the well-known work the " Print 
Collector." It afterwards passed into the hands of Mr. Ottley, a late Keeper of 
the Prints and Drawings in the British Museum. 

The subject illustrated is more than that of the perfect purity of the Blessed 
Virgin, and that of the Angelic Salutation. It proceeds to the actual Incarnation 
of' the Word. The former possessor of the print Mr. Ottley alluded to it in his 
" Inquiry concerning the Invention of Printing," as follows : 

"A very beautiful little woodcut representing the legend of ' the hunted Uni- 
corn taking refuge in the lap of a Virgin.' It bears a great resemblance in style 
to the works of the Van Eycks. I conjecture it to be a print of considerable an- 
tiquity and to have been engraved in the Low Countries, after a design in chiaro- 
scuro by the hand of some eminent artist. The figures contained in it are illustrated 
by short inscriptions on scrolls; which, however, are written in such strangely 
formed characters that I have been enabled to decipher only a few of them. On 
the scroll at bottom is written ortus aclus(us) ; and the names of the three dogs ap- 
pear to be nixti/ii.-i. veritas, and huilitas. Upon examining the back of this little 
print, it is seen from its shining appearance that, though printed with black ink, the 
impression was taken offby friction." (Op. cit. p. 194.) 

With all deference to so eminent an authority, we must express our opinion 
that the original engraving was on metal, and that the signs on the back of the 
present impression of friction having been resorted to in obtaining it are now absent. 

This engraving attracted the notice of the late Mrs. Jameson, to whom the 
popular history of religious art is so much indebted, and who added the following 
memorandum on the mounting paper of the print: 

" In the church of St. 'Elizabeth at Breslau there is an altar of wood, richly 
1 and gilt in a rude Gothic style, representing in the centre the Annunciation. 
The angel kneeling blows a horn ; the Virgin is seated with a unicorn in her lap 
one -iile St. John, on the other St. Elizabeth of Hungary." (Anna Jameson.) 

In her " Legends of the Madonna," Mrs. Jameson remarks: 

" In the 15th century that age of mysticism we find the Annunciation not 

merelv treated as an abstract religious emblem, but as a sort of divine allegory or 

poem, which in old French and Flemish art is clothed in the quaintest, the most 

curion- forms. I recollect going into a church at Breslau and finding over one of 

tin- altars a most elaborate carving in wood of the Annunciation. Mary is seated 

within a ( iothic porch of open tracery work ; a unicorn takes refuge in her bosom, 

le a kneeling angel winds a hunting horn, three or four dogs are crouching 

near him. I looked and wondered. At first I could make nothing of this singular 

allegory, but afterwards found the explanation in a learned French work on the 

' Stalles d' Amiens.' I give the original passage, for it will assist the reader to the 

comprehension of many curious works of art ; but 1 do not venture to translate it. 

' >n -ait qu'an XVI* siecle le mystere de I'lncarnation < toit sonvent repro- 

l>ar une allegoric ainsi cone.ue : une licorne se refugiant, au sein d'nne \ 

pure. i|natre levriers la pressant d'une course rapide, un veneur aile sonnant de la 

troin|)ctte. Lasciencede la zoologie mystique cln temps aide aentrouverPexplicat ion: 

le fulmlenx animal dont runiqne eon:c ne blessait que ponr pnrger dc tout venin 

1'endroit du corps qu'elle avoit touche, figurait Jesus Christ, m< de.-in ct sauveur 

d.- ami- : on doimait anx 1 -vriers agiles les noms de MiM-ricordia, VeritM, Jus- 

!',\. K- qiiain- rai-ons qui ont presse le Vei ! ,'tcniel dc s,,rtir de son repos ; 

maU com Y-tuit par la Vierge Marie qu'il avoit voulu descendre parmi !- 

homines et se ineitre en lenr pui'-ancc. on eroyait ne pouvoir mieUX faire q< 
choi-irdans hi tiihle | t > fait d'nne puerile pouvant seule s rvir de pi.'ge h la licorne 
en I'attiratit par le charme ei le p:irfum de son >oin \irgin:il qn'clle lui pnWntuit : 
enfin. I'ange (ialiriel ccnconnuit au mysti-re etoit Men reconnaissabl 
traits .In \eneiir ail-' lancant les lev rid-* ct eml.onchant la tnnnp- ' 



128 MODIFICATIONS OF THE MANIERE CRIBLEE. 

"It appears that this was an accepted religious allegory as familiar in the six- 
teenth century as those of Spenser's ' Fairy Queen,' or the * Pilgrim's Progress,* 
are to us. I have since found it frequently reproduced in the old French and 
German prints : there is a specimen in the British Museum, and there is a picture 
similarly treated in the Alusee at Amiens. I have never seen it in an Italian pic- 
ture or print, unless a print after Guido, wherein a beautiful maiden is seated 
under a tree and a unicorn has sought refuge in her lap be intended to convey the 
same far-fetched allegory." (Op. cit. p. 185.) 

The fullest reference to this subject that we are acquainted with is in the first part 
of the recently published " Beitrage zur Kunstgeschichte," under the editorship of 
Dr. Liicke of Leipzig. From this part, viz. " Die Legende vom Leben der Junjrt'rau 
Maria und ihre Darstellung in der Bildenden Kunst des Mittelalters," von Alwin 
Schultz (Leipzig, 1878), the following extracts are taken, p. 50, et seq. 

" XXIII. The virginity of Mary as expressed through a very generally diffuse 
symbol. 

" 1 . The unicorn in the lap of the Virgin. 

Wolfram von Eschenbach says in ' Parzival,' 482, 24 

' ein tier heizt monicirus : 

daz erkennt der meide rein so groz 

daz ez slaefet uf der meide schoz.' 

(Compare the ' Physiologic und Bestiaren.') 

"Sculpture on the console of the church at Neuberg in Steiermark (abg. 
Mitth. 1, 7). 

"Woodcut of 1470 (Holzschn. d. Germ. Museums, Ixii.). 

" Giovanni Maria Falconetti in the Oratory of R. Liceo at Verona (Crowe, 
' North Italy,' vol. i. p. 472). 

" Pierre Francheville (J" 1630), Sculpture in Santa Croce at Florence (Cicog- 
nara Storia della Scultura Italiana, tav. Ixix.). 

" 2. The ' Porta Clausa' of Ezcchiel, Moses's burning bush, the blossoming rod 
of Aaron, and Gideon's fleece. 

"On the wing of an altar at Gandan (Kr. Breslau), painted about 1500, are 

represented A B C D....E.... F The Virgin with the 

Unicorn in her lap. Inscription . Virgineis . dictis [capitur] cor . rinocerontis. 1 
G H I 

" An exactly similar picture exists in the Lorenz church at Niirnberg, scr\ in<r 
as the Epitaphium picture of the Professor of Theology, Friederich Schon, \\\w 
died in the year 1461 

" A third example is offered by the Epitaphinm tablet of Ulrich Stark (-J- 1 478) 
in the Scbaldus Church at Nurnberg 

" XXVIII. The conception of Mary symbolically represented. We have 
already alluded to the legend of the Middle Ages, that the timid unicorn would 
take refuge in the lap of a Virgin only, and thus might be caught. ll<>\v this 
legend was applied to Mary has been pointed out; the unicorn in her lap is to In- 
regarded as the symbol of her virgin purity. But afterwards its application was 
extended : the Unicorn that seeks protection in her lap implies Christ ; the Master 
on whose order the Unicorn is hunted is God the Father ; the hunter is the \\w\ 
Gabriel. Konrad von Wiirzburg expresses these opinions in his ' Goldnen Sehniit !.,' 
v. 256, ff: Du vienge an eim gejegede Des himels einhiirne, Der wart in daz 
gediime Dirre wilden werlt gejaget Und suochtc. keiserlichin maget, In 
diner M In"./ vil senftc/ Icj/cr. Ich meine do der hiinel joper. Dem undcrian din 
riche sint, Jagte sin einlx.rncz kint IT en Ion nach gewinne. Do in din "an- 
minnr Treip her nider Italde Ze maneger siinden walde, 1)6 nam ez, vrouwe. 

1 For "dictis" read "digitis;" the interchange of "monoceros" and rhino- 
ceros " is of very frequent occurrence. 



THE VIRGIN AND UNICORN. 129 

sine vluht Zuo dir, vil faelden rii-lie vniht, Und sluof in dinen buosen, Der ane 
mannes irruosen 1st luter unde liehtL'evir. 

" As far as my knowledge extends this representation is to be met with first 
on the embroidery of an antependium in the nunnery of Gb'ss at Steiermark, 
executed probably in the 13th century (abg. Mitth. iii. t. iii.). A small unicorn 
is introduced between the Announcing Angel and the Virgin. 

" The simplest representation of this scene is offered by the carving of the 
lai-L'e altar in the Lady Chapel of the Elisabeth Church at Breslau. Mary sit* 
and holds in her lap the Unicorn; before her and separated from her by the 
' porta clausa' is the Angel Gabriel, who blows a hunting-horn. In the back- 
ground the 'turris Davidica' (Cant: Cant: iv. 4) and the 'tnrris eburnea' (Cant: 
Cant : vii. 4) are introduced ; other symbols appear lost. End of the 1 5th century. 
This carving is apparently referred to by Mrs. Jameson, but her description of it 
is wrong, for the dogs which she mentions are not present here, and there is not 
any other work of this kind at Breslau. 

" The representation is much fuller in the picture of 1 5 1 5 in the Cathedral of 
Merseburg described by H. Otte (N. Mitth. 'Des Thiiringisch-Sachsichen Vereins,' 
v. 1, p. 1 1 1 ff.). Mary sits in a garden ('Hortus conclusus, 1 Cant: Cant: iv. 12), 
enclosed within an octagonal-shaped wall. The ' porta clausa,' ' turns eburnea,' 
and ' Davidica,' etc., are introduced. Gabriel appears as a Hunter, with horn at 
his side, accompanied by four dogs which are named Justicia, Misericordia, Pax, 
and Veriteu (Ps. Ixxxv., ii.). As other symbols, are added the Urna aurea, Archa 
fofderitj the Vellu* Gedeonis (Jud : vi. 37-40), the Fans signatus (Cant: Cant : iv. 
12), Rubus Moisi, the Virga Aaron, and Stella Jacob. The symbols are explained 
by Otte (compare also W. Grimm, ' Einl. ru Konrad von Wiirzburg's goldner 
Schmiede,' xxxi. ff.). 

"Exactly similar in arrangement appear the paintings of the outer wing of an 
altar at Brunswick, described by Vulpius in the ' Curiositaten,' vi. 138 (Job. 
Kaphon, ' Braunschweiger Museum,' N. 353)- An analogous picture formerly 
hung in the church at Grimmenthal, and was afterwards in the Castle at Gotha 
(Otte, a. a. O. 1 13 abgeb. in Rudolphi, ' Gotha diplomat ica,' ii. 310). According 
to < >tte four such pictures should be found in the vestibule of the Weimar Archives ; 
Vulpius knows two only of these (a. a. O. 137); one of them he has had copied in 
the ' Curiositaten,' vi. t. 4. This picture differs from the Merseburg one before 
ioned, inasmuch as Gabriel carries a hunting-spear as well as a horn ; God the 
Father is visible in the sky, from whom proceed rays on which the Child with the 
- and the Dove of the Holy Ghost descend upon Mary. 

" Cahier (' CaracteVistiques des Saint*,' i. 45) gives a copy of a woodcut in 
4 Der beschlossene Gart 1 505.' Here Gabriel has only three dogs. The hunting 
of the Unicorn by the Heavenly huntsman is also painted in the angles of the altar 
at Aix, ascribed to Kinjr Rene (abgeb. Millin, 'atlas pour servir au voyage dans 
les ddpartements du midi de la France,' Par. 1 807, t. xlix. Only three dogs). 

" According to Mrs. Jameson similar representations may be found on the 
choir seats of Amiens, as also in a picture in the cathedral of Amiens. Of the nu- 
merous old French and German prints to which she alludes I have been able to 
find only one in Bartsch's ' Peintre-Graveur.' " 

We-sely. in his " leonoirraphie Gottes," does not refer to the association 
of the Unicom and the Blessed Virgin. He notices its presence as a symbol of 
purity, along with the SS. Agatha, Justina of Padua, and with Kirmiinis the first 
l'.i-!i..p of Amiens. Ilii.cnbeth ("Emblems of Saints") mentions its connec- 
tion with ".Justina, Virgin and Martyr." 

Mrs. Jameson writes (-'Sacred ami Legendary Art," pp. 341-396), "It is not 
easy to distini:ui>h St..Iu-tina of Antioch from another saint of the same name, 
St. .lustina of Padua, the more especially as the painters themselves appear to have 

confounded them In Mime Venetian picture-, the attribute of the I'liironi. 

which belong* proper! v to St. .lu-tina of Antioch, has been given to St. Justina of 

K 



130 MODIFICATIONS OF THE MANIERE CRIBLEE. 

Padua, and when this is the case it is not easy to determine whether the mistake 
arose from ignorance or design. In Domenichino's picture of St. Justina cares>in<_' 
a unicorn in a forest, it is, I imagine, St. Justina of Antioch who is represented. 
In Moretto's splendid picture of the Duke Alfonso I. at the feet of St. Justina 
( Vienna Gate), I should suppose that the artist had the patroness of Padua and 
Venice, and not the martyr of Antioch, in his mind, or perhaps confounded the 
two. Neither must it be forgotten that a beautiful female, attended by a unicorn, 
is sometimes merely allegorical, representing Chastity, but when the palm and 
sword are added, it is undoubtedly a St. Justina ; and if the picture be by a Vene- 
tian artist if the figures be in the Venetian costume if Venice be seen in the 
distance a St. Mark introduced then it is probably St. Justina of Padua; other- 
wise, when a female saint appears alone or in a company of martyrs attended by a 
unicorn, it is St. Justina of Antioch." 

We have been equally at a loss with Schultz to discover any of those old French 
and German prints in which the unicorn is M frequently produced," according to 
Mrs. Jameson ( " Legends of the Madonna," p. 1 86). The only examples we are 
personally acquainted with are the St. Agatha of Israhel van Meckenen (B. 117) 
and the scarce series by Duvet (R. Dumesnil, 54~6 1 ), which is supposed to form 
an allegory in connection with Henry II. of France and Diana of Poictiers. 1 

[5J- x 3f in.] [Uncoloured.] 



B. 46. 

AN ANGELIC SALUTATION, WITH A HUNTED 

UNICORN TAKING REFUGE IN THE 

LAP OF THE VIRGIN. 

(See B. 45-) 

FACSIMILE copy of the engraving just described. 

Below on the present mounting paper is the following memorandum 
in pencil :-r- 

__ " This belongs to Mr. S. Leigh Sotheby. This is a fac -simile from 

the original formerly in the Collection of William Young Ottley. It was done 
by Mr. Sheldrick, the artist always employed by my father in making fac-similea 
from Block-Books. Mr. W. Y. Ottley had one worked on old paper, which he 
mistook for the original. S. Leigh Sotheby. 
"August, 1852." 

This facsimile with the above note was sent to Mr. Carpenter by S. Leigh 
Sotheby, junior. 

In the senior Mr. Samuel Leigh Sotheby's " Principia Typographia," vol. i. 
p. 33, is the following statement 

" In respect to persons being deceived as to a work of antiquity being the 
original or a copy, we do not believe that there exists any one of such consummate 

1 Since writing the above Mr. Reid has drawn our attention to a notice by 
Passavant (vol. ii. p. 290, n. 10) of an "ornement de feuillage avec I'einhleme 
de la ch8teteY' by the Master LCj, 1492. For further illustration of this sub- 
ject consult Twining' s " Symbols and Emblems, &c.," p. 1 72 ; Bock's " CJ eschichte 
der liturgischen Gewander," vol. iii. pp. 38-1 85, pi. 6 ; Cahier's " Caracteristiquex 
den Saints," vol. i. p. 45. 




THE VIRGIN AND UNICORN. i 3l 

judgment who might not be deceived, even were the object itself to belong to that 
branch of art to which the attention of his whole life had been directed. A re- 
markable instance of this may be quoted in respect to the facsimile of an early 
wood-engraving, which will be found in the present volume [Plate XLVI., facing 
p. 198]. We refer our readers to a facsimile of the ' Annunciation,' representing 
the Virgin attended by the Unicorn. This was taken from an original impression 
formerly in the collection of William Young Ottley, Esq., a gentleman who held a 
high reputation for an accurate and practical knowledge of works of art, more 
particularly in respect to the various schools of engraving. Many years ago Mr. 
Ottley, doubting the possibility of making an accurate facsimile of this engraving, 
entrusted the original to our charge for this purpose. When it was done, we had 
four impressions worked off on some old paper of a similar character to that on 
which the original was taken off. One of these (cut close) we presented to 
Mr. Ottley, which he received and believed to be his own impression ; nor would 
he be persuaded until the original was produced that it was otherwise. That im- 
pression of our artist's facsimile has since the decease of Mr. Ottley passed into 
other collections, having been, without the smallest doubt of its genuineness, sold as 
an original impression." (P. 33.) 

In reference to the impression given in the "Principia," Mr. Sotheby observes 
" Here is the facsimile of the early wood engraving .... it is above twenty- 
six years since this facsimile was transferred to the lithographic stone, and conse- 
quently the impressions that have been now taken off do not present the same 
delicacy as those four previously named, which were taken off when first trans- 
ferred." (P. 199.) 

"It is necessary to observe that these impressions of our copy have only been 
within the last few months taken from the stone. At the time the copy was made 
only lour impressions were worked off, and those as proofs. Since that time the 
stone has remained untouched, the present impressions showing how long a time 
the designs drawn on stone may remain in a comparatively perfect state." (Op. 

< !' 33-) 

On comparing the copy, now being described as in the collection of the British 
Museum, side by side with that given in the " Principia," considerable difference 
as regards delicacy and clearness of impression may be seen. We presume the 
former to be one of the four original proof impressions mentioned by Mr. Sotheby. 

[5| X 3f in.] [Uncoloured.] 



B. 47- 

SAINT CATHERINE OF ALEXANDRIA AND 
SAINT BARBARA. 

LATTER THIRD OF THE FIFTEENTH CENTUin 
GERMANY. 

( Virgin-Patronessei and Martyrs.) 
(No. 378, WBIOBL.) 

|N our left hand stands St. Catherine, directed in action towards tin- 
right. A nimbus in the form of a plain white ring encird. * h.-r head, 
on which i- u diadem. The long hair falls over the shoulden to the 

i-lhows. With hrr led hand tin- Saint holds up some folds of her long 

mantle, while hrr right hand rests on the top of an upright standing wheel. From 




132 MODIFICATIONS OF THE MANIERE CE1BLEE. 

St. Catherine's right shoulder and chest the mantle has fallen away, display in g tlic 
tight-fitting tunic beneath. 

On the right hand stands St. Barbara, directed in action towards St . 
Catherine on the left. A ring nimbus and diadem encircle the head, the hair of 
which falls over the shoulders and to the right elbow. With her left hand the 
Saint supports a circular tower with a sharp conical top, and sustains also some 
folds of her mantle. Her right arm is bent across the chest. The tunic is visible 
over the chest, and at the knees below the mantle. The feet of neither saint are 
visible, the folds of the mantles and tunics, which lie upon the ground, concealing 
them from view. The ground is composed of small black squares, defined by thin 
white lines running obliquely, as if to a point of sight, but in fact not properly 
vanishing in perspective. Kadi saint stands below a circular arch, the stonework 
of which is indicated by white lines on a deep black ground. The background is 
of a deep uniform black, from which the figures stand out in white relief, their 
forms being indicated by black lines. The shadows are indicated by parallel and 
oblique lines. Not any point-work nor cross-hatchings are visible. The design is 
enclosed within a narrow border, consisting of a white and black line. The design 
is 3-|- inches high by 2 y inches broad. Beyond is a narrow white margin, and then 
comes, enclosing the whole, an ornamental framework or border of a conventional 
character, common to engravings in the maniere criblte. 

This example belonged to the Weigel collection ; its former possessor alluding 
to it in the following terms 

"The drawing is good, but the expression of the faces spiritless. The print is 
cut, nowhere is a dot (perle) to be seen. The colouring is treated in the chiaro- 
scuro manner, with a brownish tint in the draperies, faces and clouds. 

" The costume and pose incline one to allot the print to about the end of the 
third quarter of the fifteenth century. The paper seems to show wire marks, but 
not any water mark is present." (" Anfange," vol. ii. p. 304, n. 378.) 

Mrs. Jameson observes (" Sacred and Legendary Art," pp. 287-296) 

"When Saint Catherine is grouped with other saints, her usual pendant is 
Saint Barbara .... it is usual in a sacred group (Sacra Conversazione) to find 
Saint Catherine and Saint Barbara in companionship, particularly in German art, 
and then it is clear to me that they represent the two powers which in the Middle 
Ages divided the Christian world between them. Saint Catherine appears as the 
patroness of schoolmen, of theological learning, study, and seclusion ; Saint Barbara 
as patroness of the knight and the man-at-arms, of fortitude and active courage. 
Or, in other words, they represent the active and the contemplative life so often 
contrasted in the mediaeval works of art." 

[4f x 3f m -] [Slightly coloured in chiaro-scuro style.] 



B. 48. 
SEVERAL MALE AND FEMALE SAINTS. 

PAYS-BAS. 
LATTER PART OF THE FIFTEENTH CENTURY. 



5=yT KX leaves from a Flemish Mamisn-ipt Book of Prayers; on each leaf is 
affixed the representation of a Saint with attributes, &c. On one print 
only is any dotted work to be seen: this is on No. 10, St. Marparet. 
The general ftyle of work, however, in the other pieces, the i'.iv<.'r<>uml> 



Nos. 2 and 5 the roulette-like work on the foreground of No. 6, and the 



VARIOUS MALE AND FEMALE SAINTS. 133 

inscription on No. 7, incline one to regard these engravings as produced under the 
influence of tin- iiiiniiere criblee. Several of them are well designed, drawn and 
engraved, and all, with the exception of one perhaps, have been carefully coloured. 



NO. I. 

SAINT ANTHONt. 

(Hermit-Saint. J- 356 in the Theban Desert.) 

IT. ANTHONY in three-quarter figure stands directed in action 
towards the rijlit. He is clud in mantle, tunic, and cap. In his left 
hund he holds a long staff surmounted by a tau; with his right hand he 
supports a large open book, from below which hangs a bell, the ring- 
handle of which appears to be sustained by the Saint's little finger. Below, on 
each side of St. Anthony, rise flames or tongues of fire. Behind him, in the 
background, is a wattled fence, above which on the right hand is a house ; on the 
left are a rock and tree. A narrow white and broader black line enclose the 
design as a border. Fifteen lines of manuscript are by the side of the engraving. 

[2f X if in.] [Coloured.] 

NO. 2. 

SAINT KKASMTS. 

aitd Martyr. J 303.) 





||T. ERASMUS is extended on the ground diagonally, his feet bein-r 
at the lower left hand corner of the composition. He is fixed naked 
on a plank, underneath which his forearms are made to pass ; a narrow 
cloth is around the loins, a nimbus is above the head of the Saint. By 
his side on the ground is a bishop's mitre and a dog. 

From the more distant edge of the plank rise two supports retaining a winch 
or wheel, over which two men are winding the intestines of the Saint as they are 
pulled from out his opened abdomen. Behind the winch stands a king looking on 
at tin- martyrdom : by his side, on the right, is an attendant. At the upper left 
hand corner of the print, a hand in benediction emerges from a radiant cloud. A 
r, as in No. I, encloses the comjKtsition. Fifteen lines of nnuin>cri|t are 
ccntiguouH to the illustration. 

[2| X if in.] [Coloured.] 

NO. 3. 

SAINT MACHARirs OF AJITK'i II 

(Patriarch. $ IOI2.) 

T. M \('II ARM'S Mands habited as a bishop. Mip|orling with his 
left hand a triple cross anil boldingin hi-* right hand :i xtone. in which 
are fixed three upright nails. He N direeted in action toward- th.- 
right, and >tands within a garden, the low wall of' which i* behind tin- 

Saint. Above the wall rife two treea <-t' differ. nt tnlia-.-e; in the lon-groutx! are 
laiy.-Iea\ed plant >. Al.ovu the mitre of the Patriarch is the inscription in 





134 MODIFICATIONS OF THE MANIERE CRIBLEE. 

black letters of sharp Gothic character ft. ^Hacbariue. This is a particularly neat 
and carefully executed engraving. The white line of the border is here coloured 
red. Sixteen lines of manuscript are associated with the print. 

[2f x l^in.] [Coloured.] 



NO. 4. 

SAINT MARTIN. 

(Bithojt. J- 401.) 

>T. MARTIN on horseback occupies the greater part of the print. 
The horse proceeds towards our left hand, while the action of the Saint 
is directed towards the right. He is clad in mantle, tunic, long black 
hose and cap. A circular nimbus is over his head, the long hair falls 
as low as his shoulders. St. Martin is about to divide his mantle with his sword, 
that he may give part of it to a beggar who rises from the ground at the right hand 
corner of the print. The beggar appears to be either deformed or deficient about 
the lower extremities, as he holds in his left hand one of those short rounded 
wooden bars with short divaricating iron legs, by which such persons support them- 
selves upon the ground as they drag themselves along it. The beggar looks up at 
the Saint, raises his right arm towards the piece which St. Martin is cutting from 
his cloak. The large head and dwarf-like arms of the beggar are characteristic of 
bis general deformed condition. The horse rather an out-of-the-way specimen 
turns his head round to look at the beggar. In the background may be seen parts 
of a castle-tower, battlemented wall, and gateway with portcullis. There is a 
border as before. Fifteen lines of manuscript are adjacent to the print. 

[2J- X I Jin.] [Coloured.] 



NO. 5. 

SAINT NICHOLAS. 

(Binhop of Myru. J^ 342.) 

ABITED as a bishop in fall costume, St. Nicholas stands within a 
Gothic cloister, the low wall and superimposed open columns of which 
form the background of the composition. On the ground before the 
Saint, and at the right hand comer of the engraving, is a large tub, out 

of which rise the upper parts of the naked bodies of three children, who look uj>. 

with clasped hands, at the Saint. The hitter holds in his left hand a pastoral Mall'. 

and raises the right hand in benediction. A like border to those before described 

is present. Fifteen lines of manuscript are adjacent to the illustration. 

[2f x l| in.] [Coloured.] 





VARIOUS MALE AND FEMALE SAIXTS. 135 

NO. 6. 

SAINT !* II. 

(Patron -Saint. % '348.) 

|T. ROCH stands on our left hand in the dress of a pilgrim. In 
his left hand he holds a pilgrim's staff and wallet, with his right he 
draws away the tunic from over his right leg, displaying the boil on 
the thigh. The Saint directs his action towards the right hand, where 
stands an angel with wings and long drapery, the folds of which lie upon the 
ground concealing the angel's feet. Immediately in the foreground stands a dog, 
having in his mouth a small loaf of bread. In the background behind the Saint 
and angel is a wattled fence. Above the head of the former is an ornamental 
tablet, on which are the words $Ct0 IRocbua. The border is as before. 
Fifteen lines of manuscript are annexed to the illustration. 

[2 x If in.] [Coloured.] 

NO. 7. 

SAINT SKBAST1AN. 

(Patron- Saint. J- 287.) 

|T. SEBASTIAN appears as a half-length figure tunu-.] slightly 
towards the right. He has on a flat cap encircled by a nimbus, a 
breast-plate, short cloak and tunic with loose slashed sleeves. His 
long and flowing hair hangs down upon the shoulders. In his left 
hand he holds an arrow, the point directed downwards. His right hand is placed 
below the handle of a sword, the blade of which is cut off by the lower limit of the 
print. At the upper part of tin- latter is inscribed in white sharp Gothic characters 
on a black ground ft 1 0ffaa0tian 8 . 

There is a border as in the other cuts. 

Fifteen lines of manuscript are by the side of the illustration. 

[2 X I in.] [Coloured.] 

NO. 8. 

-AINT BARBARA 

(Virgin-Patronen and Martyr. { 306.) 

\ H A I! 15 AHA, whose figure is represented to below the knees, is 
seated and directed towards the right. Tin- upper parts of the diadem 
and nimbus are cut off by the upper limit of the print ; the long hair 
falls down below her elbows. The drapery is close-fitting about the 
body, but'of full fold* at the lower part. St. Barbara holds in her left hand a 
palm branch, and her right assists to hold a book, which is ojwn on her knees. In 
the background, on the rL'ht hand, is a tower of three stores. .1 little below which 
by the left lianil of the Saint is the entrance front of a small chapel. 

On the left hand may be seen through a narrow rounded archway a tree ; below 
to the left of St. Barbara i ] art of a wall. Border as be!..,,. rifte.-n lines of 
manuscript are present. 

[2J x \l in.] [Coloured.] 






136 MODIFICATIONS OF THE MANIEEE CRIBLEE. 

NO. 9. 

SAINT CATHERINE OF ALEXANDRIA. 

( Virgin-Patronetx and Martyr. % 307.) 

1 HE Saint is represented in half-figure, standing and directed towards 
the right. The upper parts of the diadem and nimbus are cut off by 
the upper limit of the print. The long hair falls down to the elbows. 
The drapery, tight about the body, has long loose sleeves. With ln-r 
left hand she holds up a ring, and with her right supports a closed book. Behind 
her on the left hand is a broken and spiked wheel. Below is a low wall. A long 
sword passes across the lower part of the figure from the elbow of the right arm to 
the right hand lower angle of the print. Border as before. Fifteen lines of manu- 
script are present. 

[2J- x i| in.] [Coloured.] 

NO. 10. 

8A1NT MARGARET. 

( Virgin- Martyr. J- Fifth Century ?). 

T. MARGARET stands erect above the Dragon, directed towards 
our left. A diadem and nimbus encircle her head. She is draped in 
mantle and tunic, the former being open down the front. In her right 
hand she holds the staff of a processional cross, which seems below to 
have pierced the neck of the Dragon, around which passes a thick cord, which the 
Saint holds with her left hand. The attenuated tail of the Dragon runs immediately 
in the foreground. At the upper part of the engraving, in a transverse border with 
a black ground, is the word ^BaiQaifta in large white sharp Gothic characters, 
the continuity of the word being broken by both the cross and nimbus of the Saint. 
The background is of dotted technic and eufloriated with a sinuous arabesque, 
after a conventional method common to the maniere criblee. 

The print has been coloured after the manner of the School of Ulm. 
Fifteen lines of manuscript are on the leaf with tin- illustration. 

[ij X 1J in.] [Coloured.] 



B. 49 . 
THE TREE OF CONSANGUINITY. 

FIRST DECADE OF THE SIXTEENTH CBNTURY. 
LYONS (?). 

RKI'KKSFA'TATIOX of tlic "Tivc of r.ii..:in L Miimty," from an 
edition of the " DriTrtaU ot'Gratian," probably published at Lyons, 
cirri i I^IO. 

Behind a trellis-work, alouir which runs a fruitful vine, stands a 
figure IK, \\ncil like a king and clad in mantle and loose tunic. !!< -lands on tlir 





THE TREE OF CONSANGUINITY. 137 

divaricating stem of the vine below, and holds firmly in each hand above a stem, 
which at once divaricates into leafy and fruit-bearing branches. The hair is long 
and waves down upon the shoulders. On the mantle over the king's right shoulder 
is an insigne, like a star, and shoes are on the feet. 

On the traverses of the trellis-work in front of the figure are oblique rows of 
circular medallions with white discs, on which are inscribed the degrees of con- 
sanguinity. One straight row runs down from the middle of the figure to the 
bottom of the vine stem. On the first medallion of this straight central row is the 
number i. in red ink above, and in black ink below, between which numbers are the 
words CDattr ^-tlatcr, in rounded Gothic characters. 

The next medallion contains a male head, the third the number i. repeated 
and the words jfiliu0 JFilia ; the fourth medallion has the number ii. with /9fpo0 
/Crptifl ; the fifth the number iii.. with pncpofl pncptic ; and the sixth medallion 
contains the number iiii., with the words abnrpoo abrt'ptio. Below this latter 
medallion springs up a long waved scroll, on which, in red (iothic characters, is 
inscribed 

D?ec ret arbor Con0anQuimtati0. 

All the principal forms may be said to be relieved in white from off" a dark crible 
background. 

The central line of the borders of the medallions are dotted ; the sparse shadows 
which are present are indicated with fine oblique parallel lines, but not any cross- 
hatching is apparent. The head of the king is well drawn and neatly engraved, 
as are also, in fact, the other portions of the composition. A narrow border of 
a white and black line encloses the latter. 

Printed text in black and red ink is on the verso. 

[9r x 7 f' n ] [Uncoloured.] 




DIVISION C. 

METAL CUTS. 



PREFATORY REMARKS. 




HE examples of early German Art grouped to- 
gether under this division would appear to the 
ordinary observer probably as impressions taken 
from wood blocks engraved in relief. Such they 
would appear also even now to eome professed 
iconographists. Nevertheless, there are good 
reasons for assuming that these impressions have 
been worked off from metal plates engraved in relief. The method 
of technical procedure therein followed, and the general style and 
feeling of the designs thus engraved did not differ from those in 
vogue when wood blocks were resorted to. The work was in both 
cases in simple relief, i. e. en taille d'e'pargne, and devoid of any 
peculiarities such as marked the particular style already described 
as characterizing the maniere criblee. Nevertheless, particular results 
ensue when such metal plates in relief are printed from, and which 
serve to distinguish their impressions from those which have been 
taken from engraved wood blocks. 

In illustration of this circumstance, it may be stated that if an 
extensive series of early woodcuts, as supposed, be examined, it 
may be found that in certain specimens the ink or colour used in the 
printing of them has been unequally distributed, or that in some it 
has been very heavily deposited all over the print, while in others it 
has been very faint in its markings. On long lines the ink or colour 
is, in particular places, in narrow streaks or slight in amount, while 
elsewhere it is broad and dense. Other contour lines and forms may 
be scarcely followed out by the black or brown colour of impression, 
or only in a granular, grouty, or rotten manner. In some places, 
where several lines approximate or decussate as, e. g. in the repre- 
sentation of the eyes, mouth, fingers, toes, and hair the colour 
i the various lines may have run to a mass or blot, giving rise to 
n heaviness or bluntness of impression. Where such characteristics 
are to bo found, there will exist a general want of sharpness, equality, 



1 4 2 METAL CUTS. 

and clearness of definition. Further, the cutting of acute angles and 
corners, and of the more delicate lines, may appear to have been 
carelessly performed, and the versos of the prints may not in these 
and some other spots exhibit such effects of the indentation of the 
relief lines impressed on the rectos of the cuts, as may be observed 
on other impressions. In other cases, one of the margins or border 
lines of the print may be curved in direction. If inscriptions be 
present, the letters or characters may have worked off in so splotchy 
a manner as to render the former illegible. 

The peculiarities and irregularities connected with the ink or 
colour of impression here alluded to are explainable by the circum- 
stance that the material of the plate exhibits something of the pro- 
perty of a fatty or greasy body, which prevents the colour becoming 
readily fixed or stationary, where applied by the printer, but allows 
it to run into greater or less sized blobs or masses. Wood, on the 
other hand, acts differently it seizes and holds the ink equally 
throughout. Where lines meet or cross each other, blotchiness and, 
therefore imperfect definition, are very prone to ensue. A very 
small amount of curvature of the plate, a slight bruise, or a little 
oxidation of the metal will, prevent a good impression being taken, 
and cause uninked or uncoloured spots to appear, and grouty or 
rotten surfaces to be apparent. Where book-printers' ink may have 
been employed, it would be liable, from the fatty acids it contains, 
to react on the engraved metal, and give rise to unequal distribution 
of the ink on after occasions, if great care and cleanliness were not 
adopted. The curving of a border line or of the limiting edge of a 
print can have resulted only from the flexure of the edge of a metal 
plate, for a curved wood block would have cracked or " sprung" when 
subjected to pressure. 

" But," writes Wessely, " how is a metal cut to be distinguished 
from a woodcut ? In general it requires experience, a practised eye, 
and a careful comparison of incunabula to do this. Before the in- 
experienced beginner lies the danger of his mistaking impressions 
from metal cuts for bad impressions from wood engravings. A 
peculiar appearance (which led in fact to the recognition of metal 
cuts) facilitates the inquiry. For instance, two wood blocks were 
sometimes placed in a metal frame, as in a passe partout, so that the 
designs in relief should lie at the same level, and were then printed off 
together. In such prints as T. O. Weigel describes, and gives fac- 
similes of in his work (in my catalogue of the Berlin Cabinet, No. 21, 
an example is mentioned), it is evident from the different results of 
the act of impression that the designs and the border were engraved 
unquestionably on different media. 

" In general it may be here stated that the surface of the wood 
block more readily takes the ink, and gives it off from the contour 



PREFATORY REMARKS. 143 

lines in more equable strength and sharpness to the dampened paper 
than does the metal on which the ink runs together in smaller or 
larger dots. From frequent impression the edge of the design in a 
metal cut bends or curves, but never ' springs ',' in a wood en- 
graving, on the other hand, such a border line can never curve. . . . 

" But has a metal plate engraved after the manner of a woodcut 
been actually seen ? Of incunabula we have wood blocks un- 
Joubtedly, but not any metal plates ; which circumstance, however, is 
easily explainable, as the metal could be used afterwards for other 
purposes. At Basle, and among the archives of Rotenhau, however, 
such metal-cut plates have been found ; and though they belong to 
the sixteenth century, they confirm in a marked way the existence 
of them in general" (" Anleitung, etc.," p. 32.) 

M. Renouvier, in a review of Passavant's " Peintre-Graveur," 
(" Gazette des Beaux- Arts," 1860, vol. vii. p. 330), writes 

" One of the more novel features of the historic dissertation 
prefixed to the 'Peintre-Graveur* is the part allotted to engraving on 
metal in relief. The author makes it proceed step by step with en- 
graving on wood independently of works of interrasile or crible 
technic in which the use of metal had been already established . . . 
The proposition thus maintained and generalized deserves careful ex- 
amination, and it will not fail of receiving it and of being controlled 
by men competent to judge of the matter in its technical aspect. 
As for ourselves, looking only at the absolute question and the con- 
dition of the prints, it appears to us evident that M. Passavant has by 
far too much exaggerated the application of a process which, without 
doubt, was practised, since such is attested both by texts and by 
examples. His specific attributions to the process also are quite arbi- 
trary. The chronicler Paul, of Prague, who gives us the longest 
account of the printer of the image figures and letters in 1459, at 
the actual moment when printing was discovered, tells us of plates 
of metal ' laminibus sereis ferreia ac ligneis.' 

" One of the early printers of Augsburg, John Bamler, in the 
colophon of his Belial, printed in 1473, speaks of figures of metal 
' figuris ereis/ that he has placed therein." 

Essenwein more than doubts the ability to distinguish between 
impressions taken from wood blocks and from metal plates in relief ; 
he remarks 

" It has been supposed that differences between impressions from 
wood blocks and metal plates could be substantiated. Careful in- 

igation has taught us, nevertheless, that this supposition is 
erroneous. For instance, authorities have considered that the im- 

-ion represented on Plates I. and II. 1 is from a metal cut, because 



1 lint tunning u Mii-K s uhj.' t the Death of the Virgin. 



144 METAL CUTS. 

all the characteristics l which should stamp a print as being from a 
metal cut are therein present, and yet the impression exhibits spots 
where the block has ' sprung' and a fissure of the block 2 which never 
could have resulted in the case of metal. If to this be added our 
complete ignorance of the nature and mode of preparing the old 
colours of impression ; that without doubt they were different with 
different printers, and that on their compositions the differences 
alluded to are far more likely to have depended than on the impres- 
sions being from wood or from metal; we must be excused if we are 
unable to discriminate in the least between wood and metal cuts, 
but bring both together here under the simple title of ' woodcuts/' 1 
(" Die Holzschnitte des 14 und 15 Jahrhunderts im Germanischen 
Museum zu Niirnberg." Niirnberg, 1875.) 

Believing as we do that many early cuts which a quarter of a 
century ago were considered to be impressions from wood blocks 
are truly from metal plates engraved in relief, we yet agree with 
Passavant rather than with Weigel, that in some instances the works 
from both so closely simulate each other as to give rise to consider- 
able hesitation in forming a conclusion as to the origin of the print 
which may be under notice, i.e. whether it be from wood or from 
metal en taille d'epargne. 

This question having been fully discussed elsewhere by the 
author (" Introduction to Study of Ancient Prints/' vol. i. p. 73), it 
will be sufficient here to state that valuable details may be found in 
connection with it pro et con. under the following references 
Weigel und Zestermann, "Anfange," vol. i. p. 21. Passavant, 
" Peintre-Graveur," vol. i. p. 3, note, pp. 59, 95, 97; vol. ii. p. 134. 
Renouvier, "Gazette des Beaux-Arts," 1860. " Des Gravures sur 
Bois dans les livres de Simon Vostre/' 1862, p. 13. Kolloff in 
"Meyer's Kiinstler-Lexikon, Art. Zoan Andrea," and Wessely, ut 
antea. 

The latter part of the prefatory remarks to Division B, " Ma- 
nie"re Crible'e," pp. 53-55, may also be referred to. 



1 Deduced particularly from the circumstance that the colouring matter of im- 
pression adheres in a different manner to metal, and is transferred from the latter to 
paper differently to what is the case in respect of wood. 

2 Formed, perhaps, before the engraving was begun of pieces glued together. 





C. i. 

THE HOLY TRINITY. 
1464. 

SWABIA. 
(No. 50, WKIQBL.) 

REPRESENTATION of the symbol known generally in the History 
of Art as the " Italian Trinity," a particular form of symbolism which 
was very popular from the twelfth to the seventeenth century. 

God the Father, seated on a throne, supports before Him with His 
hands a Cross on which is the Crucified. Over the right shoulder of the Father 
descends a white dove the symbol of the Holy Spirit whose beak touches the 
outer margin of the nimbus of our Lord. At the feet of the Father in the fore- 
ground before the throne kneels a naked male figure on one side, and a naked 
female figure on the other ; their hands are clasped as in prayer, and their faces 
upturned towards the Cross. 

A cruciform nimbus, with an invected inner border, encircles the Father's head. 
He i.s clad in a large mantle, open over the chest and arms, exposing a full 
tunic beneath. The hair and beard are long and flowing, there is much expression 
in the countenance, but it is of a coarse and staring character, as of fixed wonder 
and astonishment. 

A sort of chaplet or wreath, in place of a circle of thorns, is around the brow of 
the ( Vucified One ; a cruciform nimbus is about the head. The expression of our 
Lord is aged and sorrowful; the markings of the hair, beard, feature and body 
forms arc strongly accentuated. A close-fitting loin cloth is present, the feet 
are crossed, there is not any suppedaneum. 

The dove i.s large, with outspread wings, and has a circular cruciform nimbus 
around the head. 

At each upper corner of the print is a large shield, bearing on it a patriarchal 
or double cross, the twofold markings of which denote " that the work of redemp- 
tion which was wrought on the Cross, extended both to the Jews and Gentile*." 
(Clark's " Introduction to Heraldry," London, 1866, p. 172.) 

< )n a straight scroll above these shields is the inscription 



*ancti 
in (lothir characters. 

Colour hits IM-CU freely applit'd to the jn-int, ami "attention muv !> iliivctnl to 
the deep and shining red, to the bright, almost cumbogc-vcllow-like ochre, to the 

L 



146 METAL CUTS. 

verdigris green, to the nut-brown colour, and to the burnt ochre of the flesh tints. 
Nor should it be overlooked that the hair of the Father is of a quite pale brown hue, 
almost grey ; the hair of Jesus is of a black-brown, and the hair of the kneeling 
mortals of a yellow colour. The crosses in the glories are red, the space between 
the two black bonier lines has been coloured yellow." 

" The time of the production of our print is placed beyond a doubt by the date 
1464 which is present. The style of colour, and especially the fiery red of the 
madder, point to the Danubian provinces of Swabia very likely Augsburg as the 
probable place of its origin." (Weigel, op. cit. vol. i. p. 91.) 

A watermark on the paper is not present. 

Lady Eastlake thus writes in the " History of our Lord," vol. ii. p. 350 

" Here the chief condition of the idea of the Trinity is lost, the equality of the Per- 
sons being as far sundered as life from death, and truth from semblance. By a strange 
reversal in the feelings of Art, the First Person is here alone invested with the human 
shape, and the Second Person represented by the mere symbol of a Crucifix with an 
image of a dead Christ upon it. thus sacrificing the idea of His divine nature to that 
of His earthly sufferings the Father is always seen supporting the Cross by the 
two ends of the transverse beam, the effigy of the dead Son hanging generally be- 
tween his knees, while the Dove appears proceeding from the lips of the Father and 
touching the head of the Son which is the earliest form or perched like a mere 
bird on one side of the Cross. Angels sometimes support the feet of the Saviour. It 
would be difficult to explain this spurious kind of ' Ecee Homo' by any text of Scripture 
or tenet of theology. It comes before our eyes like false logic in art, the propositions 
of which are unequal. The Father is a living person, the Son a dead image, ami 
on a different scale of size. The Father can be nowhere but in Heaven (seated 
sometimes on a rainl>ow ), the Son nowhere but on earth, while the Dove ceases to 
form a bond of union between beings of such unequal conditions, and in the sense 
of His procession from both becomes a theological absurdity. . . though called par ex- 
cellence the Italian Trinity, this form abounds in the miniatures of every school, and 
especially in all forms of Art in the School of Nuremberg." 

[9f X 6f in.] [Coloured.] 



C. 2. 

THE INFANT CHRIST ON A FLOWER. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
GERMANY. 

the top of the flower of an open tulip or lily stands the infant 
Saviour, directed in action towards our right hand. A cruciform 
nimbus encircles the head, above which runs the transverse limit of 
the Cross. The hair is abundant, close set and curled. A loose-flowing 
robe, joined at the neck and open all down the front, discloses the naked b<lv. 
The folds of the open mantle are wafted, not ungracefully, towards the left. Fnun 
behind the shoulders of the Saviour a long waved scrpll runs acn^- the <leign. mi 
which i- the inscription, <ffitt . COOt . %>(\IQ . iar . in coar.-c (Jothic characters. 

To this inscription the infant Christ seems to point with the index linger of the 
left hand, while lie places the ri^lit hand on His riht side. 

Ik-low the chief lilooni of the flower runs a stalk, fnnii which second, third 
and smaller blossoms spring, as do also a few lea\</s, which touch the lower bon lei- 
line of the engraving. 




THE INFANT CHRIST ON A FLOWER. 147 

The drawing, though coarse, is yet masterly and free, and shows a practised 
hand. Colour has been applied in grades of yellow, reddish-brown, and green. A 
rather broad black border encloses the composition. 

An exactly similar design, but of smaller dimensions and in reverse position, 
may be found among the prints of the "School of the Master" of 1466, contained 
in the Museum Collection "Early German Masters," vol. i. (Bartsch, x. 
34-66.) 

The print now under consideration was formerly in the cabinet of T. O. 
Weigel, who thus alludes to it in the first volume of his " Anfange, etc.," p. 1 1 , 
n. 56 

" Our metal cut was discovered fastened on the cover of a book printed at 
Cologne in 1502, in the office which was once Heinrich Quentel's. The title of 
this book [which accompanied the engraving] is as follows: Ad laudcet honorem 
individue trinitatis christifereque virginis Marie Evangelia et Epistole per tot ins 
anni circulu tain de Tempore q de Sanctis vigilanter correcta fine gaudent fausto. 
Impressa Colonie in ofEcina felicis memorie Henrici Quentel, Anno secundo supra 
millesimum quingentesimum lucente vigilia largi confessoris Martini." 

" The print before us we regard, in conformity with the inscription on the scroll 
<Cin . coot . feclig 4 tar as a 'new year's greeting,' of which a similar one may be 
found among the oldest copper-plate engravings, one of the unrecognized Master 
of 1466. Since in former times it was very frequently the custom to begin the 
social year on the 25th of December Christmas-day as ordered by Pope 
EiiL'enius IV., in the year 1440, the child-Christ might very well be chosen as 
the medium of a new year's greeting, and as, in the earliest ages, a blossoming 
flower was considered as a symbol of the opening year, so the position of the child- 
Christ here, characteristically relieved from off a cross on the summit of a blossom- 
ing flower, has not anything out of the common. 

" According to Wilkinson's ' Manners and Customs of the Ancient Egyptians,' 
Chinese earthenware bottles have been found in their tombs, with the inscription 
' the flower opens, and lo ! another year/ The great age of these Chinese bottlea 
is evidenced by the fact that, as art memorials, they date long before the later 
known Chinese porcelain. The inscription on them allows safely of the conclusion 
that they, with their contents, were intended as new years' presents." 

We give below l an extract from the work referred to by Weigel. 



1 " Among the many bottles found in the tombs of Thebes, none have excited 
greater curiosity and surprise than those of Chinese manufacture presenting in- 
scriptions in that language. The accidental discovery of a single bottle of this 
kind would naturally pass unheeded ; and if we felt surprised that it should be 
deposited in an Egyptian sepulchre, conjecture would reasonably suggest that an 
accidental visitor in later times might have dropped it there while searching for 
anrient treasures of a more valuable kind. But this explanation ceases to be ad- 
mis.-ilile \vhen we find the same have been discovered in several Theban tombs. 
I, myself, have seen several, two of which I brought to England.* Another is de- 
scribed by the learned Professor Rosellini, 6 and found by him ' in a previously un- 
opened tomb of uncertain date, which,' he refers, 'from the style of the sculptures, 
to a Pharaonic period not much later than the eighteenth dynasty.' A fourth is in 
tin- museum at Jersey. Another was purchased by Lord Prudhoe, at Coptos, and 
i* now in the museum at Alnwick Castle. Two others are in the possession of 
Mr.-. Howen, and another belongs to Mr. W. Hamilton. They are about two inches 
in height ; one side presents a flower, and the other an inscription containing, 



* One i-i in the Hriti-h Mn-eiiin. the other in my possession. 

u In hi- extensive work on the "Egyptian Monument-," l-.irt -. \ol. ii. p. 377. 




148 METAL CUTS. 

The time of the production of this charming piece may have closely approxi- 
mated the period of the Master of 1466; from its general character it may 
have been of the year 1470. The inscription appears to confirm the supposition 
that the print was produced by the Rhine. There is not any watermark pn->t.nt. 
[7} X 4|: in.] [Coloured.] 



c. 3 . 

CHRIST BEFORE HEROD. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

|N a low circular chair on our right hand is seated Herod. On his head 
is a crown or diadem, having a long conical cap-like centre. He is 
bearded, the hair of the head protruding below the crown in a close 
mass of rounded curls. He is draped in a long loose robe, the lower 
part of which is raised above the legs displaying the latter, the feet being encased 
in tight-laced boots of modern appearance. Over the shoulders fall digitate 
epaulettes, the collar of the robe fits close round the throat, and the sleeves are 
tight at the wrists. Herod places his left hand upon the left knee, which is some- 
what elevated, from the foot being drawn up against the chair on which he is 
seated. The right hand is raised towards Christ, to whom Herod looks as " in- 
terrogahat autein eum multis sermonibus." (Luc: xxiii. 9.) Before Herod 
etanda our Lord as the foremost figure of the group on the left hand of the com- 
position. Christ is clad in a long, rather close-fitting robe, a cruciform nimbus 
encircles the head, the arms are brought forward over the chest and crossed at 
the wrists, where they are secured by a ligature. Behind, and on the left side of 
Christ, stands a soldier, who points with his left hand at our Lord while he looks 
very inquiringly at Herod. This soldier has on a cap and short close-fitting 
tunic. His left thigh is bent forwards, and resting on it is the handle of a slmrt 
straight sword or dagger. He is beardless and youthful -looking. Behind are 
more or less of the heads of nine other soldiers, all wearing conical helmets. ' n' 
the soldier behind the right shoulder of Christ, the armour about the throat and 
some portions of the drapery are .visible. All the soldiers whose faces are repre- 
sented look searchingly at Herod. 

The technic is in pure outline, not any shading is to be seen. The drawing is 
clear and decided, and with the exception of the fingers is relatively of a superior 
kind. There is considerable expression in the faces, though the eyes are too large 
in proportion to the heath*. The pointed helmets of the soldiers, the feet clothing 
of Herod, the hair of his head, are noteworthy, as is also the manner in \vlnYli the 
hands have been executed. The upper part only of the print is entire, elsewhere 
the paper has been cut away. A strongly marked black border line is promt 
above. 

The wiremarks of the paper are very apparent ; there is a watermark 
present- -the bull's head and flower. 

according to the valuable authority of Mr. Davis (in three out of the i-i-ln). the 
following K'gend 

44 'The flower opens, and lo ! another year.'" 

(" The Manners and Customs of the Ancient F.-vptiaivs" by Sir Gardner Wilkin- 
. 1. iii. p. 106.) 




CHRIST BEFORE HEROD. 149 

This interesting print was found parted within the cover of a large folio 
copy of the " Vitte Patrum " (ascribed to St. Jerome), printed by Koburger, at 
N 'iirnberg, in 1478. Another impression of this identical print was fixed on the 
other cover of the same book. One specimen was retained for the Library Depart- 
ment of the Museum, where it is exposed in a show-casein the Grenville Library ; 
{he other was placed in the Department of Prints and Drawings. 

[15* X Mf in.] [Uncoloured.] 



c. 4 . 

THE FLAGELLATION OF CHRIST. 

MIDDLE OF THE FIFTEENTH CENTURY. 

AUGSBURG. 
(No. 40, WKIGEL.) 

'LONG the centre of the composition rises a column, the base of which 
rests on the lower border line of the print ; the truncated top touches 
the upper margin. To this column Christ is attached by rope-like 
cords passing crosswise over tne shoulders, arms and legs. The 
body is slightly directed towards the left hand, while the head is thrown over to 
the right hand, or over Christ's left shoulder. A large circular cruciform nimbus 
encircles the head ; the hair, close and matted, falls on the shoulders. The loin 
cloth descends in front to below the knees. The body of our Lord is extremely 
emaciated, and the drops of blood all over it bear witness to the severity of the 
flagellation. Our Lord is so placed as to stand on the base of the column. On 
the left hand stands a man with outstretched legs, looking up at Christ, and, raising 
liis right hand with a scourge in it, appears as if about to strike our Lord. The 
man's left hand is brought across his body to reach a large rod that hangs at his 
rij:ht side. Above this man appears the body of another person, as if floating in 
the nir. He throws his raised arms above and behind him, grasping a large rod 
with both hands, as intending to strike Christ therewith. On the right hand (to 
tin spectator) of the column and low down near the ground, a forearm and hand 
appear as if coming out of the wall ; the hand grasps a rod, which seems to strike 
t over the left hip. Above this arm is stretched a cord from Christ's left 
shoulder to the inner border line of the print ; from the middle of this cord hangs 
a three-tailed scourge, with knotted and spiked ends. 

The costume of the executioners is peculiar : one appears as if provided with 
a modern shirt and waistcoat, and a strangely pointed cap. The head-dress of the 
other attendant is more like a helmet than anything else ; he has on tight hose 
and a rather loose-fitting jacket. A broad border of three lines enclose* the 
position. 

Colour has been freely applied. The border and cruciform parts of the 
nimbus, \vitli the marks of blood on the body, have been coloured with red lead, 
which is as bright now as when it was first applied. All the implement* of flagel- 
lation are of an opaque green tint, as is also the ground. Deep madder carmine 
has been used in the draperv and in the bonier of the print. The loin cloth 
around Chri-t and the cords binding Him to the column are of a deep yellow 
colour. \Vei'_<el remarks of this ]>rint, which wus formerly in his pOFiev 

Tin- dedga i certainly coarsely ami angularly engraved, coarsely coloured, 
and thus devoid of attraction ; nevertheless, it has been drawn by one who knew 



150 METAL CUTS. 

We would direct attention to the Borrow expressed in the countenance of 
Jesus, and also to the twists of the body, made as if to avoid being struck 
above and at the side. The stupid rudeness with which the upper man and the 
calculation with which the lower attendant are about to strike are noteworthy. 

As to the place of the production of the print we are helped to a surmise only 
by the sharp, angular engraving and the meagreness of the figures, by the shining 
red madder, the powerful verdigris green, the bright ochre, the red lead and 
the border of two colours (yellow, madder crimson). These colours are to be 
found in the productions of Augsburg, to which city or to Ulm we should ascribe 
this engraving. 

The extremely meagre form of Christ, the absence of all angular folds in the 
dress of the executioners, the loincloth of Christ, which hangs rather low, and the 
funnel-shaped coat-cuff of the hand which protrudes from the wall, place the time 
of the production of the print in the middle of the fifteenth century. The water- 
mark is the bull's head, the horns of which are wanting, from the cutting away of 
the paper. 

[7 X 4f in.] [Coloured.] 



C-5- 
THE STRIPPING OF CHRIST. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

SWABIA. 
(No. 48, WEIGEL.) 

the centre of a group of four persons stands our Lord in a semi- 
stooping posture directed towards the left ; Christ's arms are extended 
as an attendant draws off from them the Lord's robe. A cruciform 
nimbus encircles the head, a wreath of thorns is around the brow, and 

uouy is marked all over with drops of blood, the result of the flagellation. A 
loin cloth is present. On our right stands a soldier, with armour on the upper part 
of the body and a close-fitting iron (?) cap on the head. In his right hand he 
carries a forked spear, at his left side hangs a straight sword. On the left 
hand and behind the attendant who strips our Lord is another soldier, in a basin- 
like helmet or morion, who carries a long halberd in the right hand, while with the 
raised left hand he appears as if about to strike Christ on the head. The attendant 
who is disrobing our Lord is bareheaded, and clad in close-fitting jacket and tight 
hose. Two of the attendants have on black long-pointed shoes. 

Our Lord is represented as very thin, and not only devoid of beauty, but as 
positively ugly. The grouping, however, is good, and the drawing firm and com- 
mendable. 

Colour has been applied. The hose of two of the soldiers and the outer 
coat of one have been coloured with rose madder, and varnished afterwards with 
a vegetable gum. The nimbus and loin cloth of Christ, the jacket of one of the 
soldiers and the spear-handles are yellow ; the ground is deep green. A black 
border line encloses the general design. 

At a later period than the time of its production the print has been lined. On 
the lining paper is the following in German manuscript 

" Hie Hetracht was unser Erlosser und Seligmacher erlitten hab auf demberg 
Kalvarie, In der an naglung [?] und wie er ist auf gericht worden am {." 

[5 X 3J. in.] [Coloured.] 





CHRIST ON THE CROSS. l?1 

C. 6. 
CHRIST ON THE CROSS. 

MIDDLE OF THE FIFTEENTH CENTURY. 
SWABIA. 

!CX the middle of the composition rises a tail Cross, on which hangs the 
Crucified. A cruciform nimbus encircles the head, which droops over 
the right shoulder. A wreath of thorns is around the brow; the end 
of the loin cloth flutters far over on the right-hand side of the spectator. 

The feet of our Lord are crossed ; there is not any suppedaneura. The body 
is marked with drops of blood. There is not any superscription. 

On the right hand side of the Cross stands the Blessed Virgin, directed in 
action towards the Cross. Her hands are clasped before her ; she looks down in 
sorrow at the feet of her Son. Around her head is a nimbus with ornamental 
bonier ; she is draped in a large mantle of full folds, beneath which, over the chest 
and at the feet, small portions of the tunic may be seen. Her head is covered 
with a cloth. The points of the feet, clad in shoes, are just visible. From above 
the Virgin's left shoulder runs a waved scroll over the background up to the 
transverse beam of the Cross. The ground of it is black, on which there is an 
inscription (illegible) in white characters. 

On the left hand side of the Cross stands St. John, in general action directed 
towards the right, though his head is turned towards the Cross. He looks down 
towards the feet of our Lord, places his left hand across the chest, and holds a book 
in his right hand. A nimbus like that of the Virgin encircles his head, covering 
which is a close mass of curled hair. He is clad in an open mantle and tunic 
girded round the waist; the left naked foot protrudes beyond the tunic. 

The foreground is quite plain, and rises as high a* the foot of the Cross, which 
is kept in its place by wooden wedges. 

The background appears on first sight to be an irregular mas* of black and 
white spots of undeterminate forms. Closer examination will show that it exhibit! 
an imperfect attempt at copying one of the diapered rosette backgrounds so fre- 
quently to be met with in prints in the maniere criblee. This will be at once 
apparent if the parts of the background near the foot of the Cross and over the 
head of the Virgin be examined. 

The drawing and attitudes of the figures are of a superior character. The 
d ra | icries are admirably cast and treated; the figure of the Virgin is particularly 
to In- commended. While the general form of our Lord is well represented and 
the knee-joint- arti-tirally marked, the expression of the face ha* been ruined by 
the application of the black colour used to repn-ent the hair. Very little shading 
is to lie seen; this is in the form of short oblique hutehinj:- in the mantle of M. 
.John and above the left hip of Christ. A double border line enclose* the com- 
po-ition. 

Colour has been carefully applied. The Cross, nimbi, loin doth, ami the tunic 
of St. .John are deep vellow ; the mantle of the latter i- madder red. the outer 
draperv ot the Virgin brown : the wreath of thorn* on our lord's brow in Ml 
opaque L'reeii. and the blood drops on His body are ot red lead. The tore-round 
is of a bright opaque ^reeii colour; the border remains uneolonred. Here and 
M the background a little colour hub been dropped on the roMttet. 




i 5 2 METAL CUTS. 

The paper is strong, with very apparent wiremarks, but not any watermark 
is present. 

[7f X 4j-in.] [Coloured.] 

c. 7 . 

CHRIST ON THE CROSS. 

LAST QUARTER OP THE FIFTEENTH CENTURY. 
GERMANY. 

the middle of the design is a tau Cross on which depends the crucified 
Saviour. A cruciform nimbus is over -the head of the latter, which 
droops slightly over the right shoulder. A close-fitting perizonium is 
present. The feet are crossed ; there is not any suppedaneum. The 
arms and body of Christ from the false ribs downwards are meagre, the arms par- 
ticularly so, and the hands are wretchedly made out. The head and thorax are 
too large proportionately to the rest of the body, the expression of our Lord is 
very bad. Above the nimbus rises the tablet of superscription, on which are the 
letters I N R I in Gothic form. 

On the right hand side of the Cross stands Mary the Mother of our Lord, 
directed in action towards the Cross. A circular nimbus is above her head, which 
latter is covered with the upper part of her mantle. The latter is open in front, 
displaying a little of the tunic beneath. The hands are clasped in front and sus- 
tain some folds of the mantle, which here displays its lining. The figure of the 
Virgin is good, the drapery well indicated and artistically cast. On the opposite 
side of the Cross stands St. John, directed in action towards it. A circular 
nimbus is over the head, which is too large in proportion to the body, and the 
expression of the face is wretched. St. John is clad in mantle and tunic ; he 
raises the left hand as if in astonishment, and holds a book in the right hand ; 
the feet project from beneath the tunic. 

The foot of the Cross is kept in place by a wooden wedge ; a little herbage 
marks the foreground ; the background is quite plain. The veins of the wood of 
the Cross are prominently indicated. A black border line encloses the composition. 

Colour has been applied. The Cross, nimbi, book and tunic of St. John 
are yellow, hia mantle and the lining of that of the Virgin are madder red, as is 
also her tunic. 

[6J x 4f "] [Coloured.] 

C. 8. 
THE INSTRUMENTS OF THE PASSION. 

-MIDDLE OF THE FIFTEENTH CENTURY. 

UPPER GERMANY. 

(No. 33, WKIGHL.) 

HE various instruments of the "Passion" of our Lord associated with 
the busts of the persons connected with His condemnation and sacri- 
fice, have been arranged together by some of tin- .mlv (Ionian 
masters in a formal manner, ami entitled the "Arms of Chr 
Such has been the case in the present example. On the large sheet 1 




THE INSTRUMENTS OF THE PASSION. 153 

ns are representations and effigies, more or less minute, of most of the persons 
iiii<l objects connected with the sufferings of Christ, from His seizure in Gethse- 
mane to His death on the Cross. They are symmetrically arranged so as to 
balance each other in the composition, and below on a broad margin are the 
words 

: Ua0 . flint . Die . toaffen , icon . crictt .- 

in Gothic characters. 

At the four corners and along the sides of the composition are busts of the 
persons involved in the furtherance of the " Passion." At our upper left hand 
corner is Caiaphas, below is Herodes Agrippa, and at the lower angle Pilate. At 
tin- upper right hand corner is an attendant, below Judas kissing Christ, and lower 
still the head of Peter and two of the commoner attendants. At the upper half 
of the design is a Cross in the middle, with the superscription above. On the 
cross-beam hangs the purple mantle and the seamless garment of Christ, above 
wliii-h latter are the three dice. A large nail projects from each end of the trans- 
verse beam. At the lower part of the Cross projects a nail, immediately below 
which some branches of the wreath of thorns twist around the foot of the upright 
limb. On the left of the Cross the column of flagellation runs up obliquely from 
the foot of the former to the bust of Caiaphas ; around this column is twisted 
the rope that secured our Lord. In the space bounded by the capital of the 
column, the bust of Caiaphas, and the end of the transverse beam of the Cross, is 
a hand holding a bundle of twigs to replenish the fire. At the right hand of the 
Cross a ladder runs up from its foot obliquely to the bust of Peter in the upper 
right hand corner. On the third rung of the ladder above stands a cock, and in 
a triangular space below, formed by the bottom of the seamless robe, the upright 
limb of the Cross and the ladder, is a large borer, which pierces a branch of the 
wreath of thorns. By the side of the ladder, and just above the heads of Judas 
and Christ, is a large knife that which cut off the high priest's servant's ear. 

Near the base of the column and the ladder is on each side a large five-petalled 
rose, in the centre of which is a cruciform nimbus bearing upon it an open hand 
with a bleeding wound in the middle from the piercing by the nail. Below the 
heads of Judas and Christ on the right hand is a lanthom. At the pointed foot 
of the Cross is a large heart pierced on our left by a lance, from the wound caused 
by which runs a stream of blood. Above and parallel with the handle of the 
lance is a scourge with three knotted tails. On the opposite side is a forked reed 
holiling a sponge, and underlying the reed diagonally is a rod for castigation. 
ISelnw the heart are a large pair of forceps and a hammer. To the left of the 
former is another large rose, &c., bearing in its middle a wounded foot ; a like 
rose and foot are on the other side by the hammer. Below the forceps and ham- 
mer are two crossed staves or wands passing through a loop of the loin cloth 
which was around the body of the Lord. At the lower left hand corner by the 
head of Pilate is a basin and ewer ; at the opposite corner is the hand that smote 
Christ, and the branch placed in derision in his hand. From the foot of the Cross, 
underlying the four roses and passing down towards the bottom of the print, is the 
wreath i if thorns formed of two stout interwoven branches, between which run 
the column and ladder, scourge, lance handle, rod, sponge reed, forceps and 
hammer. A double black lined border encloses the whole. 

Colour has been resorted to. The woodwork, nimbi and metal objects are 
yellow. The wreath of thorns and rod are faint green, the flesh parts pale cinna- 
bar ; the blood-drops, roses, column, heart, and draperies varying shades of mad- 
der red. The utensils, branch, and border between the lines are coloured yellow. 

On this print Weigel remarks 

"The inscription is I'ppcr German, and towards Upper Germany, Augsburg, 
or Ulm the colouring points. Frnm tin- form f the cross in the plory, from 
tii:i: of the sleeve-cuff on tin- hand, from that of the lance, of the knife, and of the 



154 METAL CUTS. 

letters, it may be concluded that the print was produced during the second quarter 
of the fifteenth century. The paper is tolerably firm and smooth ; a watermark 
is not present." (Op. cit. vol. i. p. 67.) 

In connection with the " Instruments of the Passion," 1 the following work may 
not be uninteresting to some of our readers. 

" Memoire sur les Instruments de la Passion de N. S. J.-C.," par Ch. Rohault 
de Fleury. Paris, MDCCCLXX. 

[15 X llf in.] [Coloured.] 



c. 9 . 

INSTRUMENTS OF THE PASSION. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

UPPER GERMANY. 

(No. 45, WEIGKL.) 

LESS complete series of the instruments of the " Passion " than the 
example just described. 

On a little hillock stands a Cross with tablet and superscription ; 
below the latter hangs a wreath of thorns, and then a large heart 
pierced at the lower region by a lance covers the upright limb of the Cross. On 
this heart lies the naked infant Saviour holding a scourge in the right hand and a 
rod in the left. A nimbus is over the head. At the four corners of the design 
are the pierced hands and feet, which appear to issue from small clouds. A nail 
projects at each end of the transverse limb of the Cross. A double border line 
encloses the whole. 

This little symbolic print was formerly in the cabinet of T. O. Weigel. 
He remarks concerning it 

" The drawing is correct, but with extremely coarse and strong lines. The ink 
of impression is black, but has frequently not worked off, as, e.g. in the fingers and 
the right foot. The colouring is very coarse ; the wreath of thorns, the hillock, 
the rod, and the upper border are of verdigris green. The shadow-edges of the 
Cross, the stream at the wound, the cloud of the right hand and the lower border 
are mineral blue. 

The impression appears to have been taken with the press. A watermark 
is not evident. Not anything can be decided as to the age and source of the 
print ; still the indication of the shadow-edge of the Cross with colour points to the 
second half of the fifteenth century. The tec-link- is probably Upper German. 

[3 x 2f in.] [Coloured.] 

1 "The fifteenth century was the period when these subjects were most frequently 
represented, and it is rare to find an example so early as this one [pi. xviii. nr. i.] 
of the tenth century from the Saxon Benedictional of S. Ethel wood in the collec- 
tion of the Duke of Devonshire. Here angels are holding some of the emblems 
of the Passion accompanying a representation of the Saviour coming to judgment." 
(Twining's "Symbols and Emblems," p. 38, p. 40. PI. xix.) 





THE SAC RED CIPHER. 155 

C. 10. 
THE SACRED CIPHER. 

MIDDLE OF THE FIFTEENTH CENTURY. 
SWABIA. 

design is composed of the Cross and letters u y A ," symbolizing 
" Jesus ; " " in Hoc signo ; " " Jesus Hominum salvator." In the 
middle is the Cross, forming the upright part of the letter " A ; " on the 
left of the latter is a large "y," and on the right hand the letter "*." 1 

Above the Cross is a large crown, from which, at the upper part, spring three 
branches, bearing at their extremities appendages of an acorn-like character. The 
central and shortest branch bears three glands, the two other branches have one 
acorn each branch. Two branches also run out from beneath the crown, having 
acorns at their ends. These hitter branches are longer than the upper ones, and 
are each looped once at their extremities. Below the Cross and cipher letters is an 
inverted lily (P) embedded in much ornamental leaf-work. 

The design is enclosed within a double-lined border, and has been coloured. 
The border and crown are yellow, the Cross is crimson madder, the letters crimson 
madder, yellow, grey, and green ; all these tints are present in the flower below. 

" These colours," writes Weigel, " point to Swabia. The paper has not any 
water-mark. The print was produced probably about the middle of the fifteenth 
century at least, the style and treatment of the ornamental portions tend to such 
an inference. The decoration of the crown with eicheln (glands or acorns) is pecu- 
liar ; such has not previously come before me on analogous prints, and the symbolic 
meaning of which in relation to the general design is less clear and apparent than 
would have been that of ordinary leaf-work employed in its place. Perhaps it 
may be hence inferred that we have here to do with a playing-card designed for 
the ecclesiastical orders, and not simply with a representation of the religious 
symbols. Such playing-cards are present in our collection. The eicheln would 
not appear then out of place, and would simply illustrate the suit of 'glands' in 
German playing-cards." (" Anfange, etc.," vol. ii. p. 175.) 

We are not disposed to accord with this view of Weigel. In the first place, 
the size of the print, though not positively negativing it, is certainly against it. 
In the second place, a gold thread or otherwise composed acorn-like ornament is 
an old and still frequent termination to decorative cords and bands. 

[8 by 5} in.] [Coloured.] 

1 See Twining's " Symbols and Emblems," p. xi. pi. \. 




i MI:TAL CUTS. 

C. ii. 
THE VIRGIN AND INFANT CHRIST. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
UPPER GERMANY. 
(No. $2, WEIQKL.) 

*HE figure of the Virgin is represented to below the chest, supporting 
the infant Saviour on her left arm. The Virgin looks towards the 
right hand, ami on the Child upon her arm. On her head is a rich 
diadem ornamented with jewels, encircling which is a nimbus with 
broad border, adorned with large stars. The hair is combed back from off the 
forehead, and falls in soft waves upon the shoulders. Over the latter is thrown a 
mantle with an ornamented border, fastened with a jewelled brooch at the neck. 
The mantle is slightly open in front, disclosing the tunic beneath. The riirht 
sleeve of the latter is visible, and has an ermine cufF. Over the right shoulder of 
the Virgin passes obliquely a straight, double-edged, naked sword, its point 
directed towards the right breast, one end of the arm of the parry-guard touching 
the outer and lower part of the edge of the nimbus, while the handle abuts on 
the border line of the print The Virgin raises the right forearm and hand in 
front of the chest, holding delicately with the thumb and index finger the extreme 
end of a scroll, which runs up by the right arm of the Child to above the Virgin's 
left shoulder. On this scroll is inscribed in monkish characters tTu . C0 . alpba. 
ft . 0. 

The infant Savioxir, supported by His mother's left arm and hand, looks toward* 
our left. He extends the left leg and flexes the right one ; between the legs 
passes the upright limb of a Cross, which rests on his left shoulder, and extends 
much above His head. The transverse beam of the Cross in part seems to rest 
on the outer edge of the cruciform nimbus encircling Christ's head. Christ places 
both hands on the front of the longitudinal beam of the Gross, from which, im- 
mediately above the left hand, projects the nail for piercing the feet. At the on<ls 
of the transverse limb project the nails for the hands, a large wreath of thorns 
hangs on the Cross between them, and above is a scroll having on it the letters 
i. it. r. I. The infant Saviour is quite naked ; the hair of the head is arranged 
as a mass of regular stiff curls. 

Below the Virgin are clouds of the conventional type common to prints in 
the maniere criblee, and from which she seems to spring. 

At the upper right hand corner of the print is a broad scroll, bearing the fol- 
lowing inscription in seven lines 

<cce poiotio c hie in rui9? 
ct in rcjrurcotocm mHltor 
Jn ibcru0ale ct in 0icnuj 
no totratucrt ct tu5 tp0iu0 
ai mam p anocttm 
rt rrtjcllcnt ti multio 
cortnbuo co0itationc0. 

This inscription, which, from the mistakes of the engraver and the manner in 



THE VIRGIN AND INFANT CHRIST. 157 

which it has been inked and printed off, is very illegible, is taken from Luke, chap- 
ter ii. verse 34, viz. 

" Ecce positus est hie in rninam, et in resurrectionem multorum in Israel : et 
in siirnum, cui coutradicetur : et tuara ipsius aniinam pertransibit gladius, ut reve- 
lentur ex multis cordibus cogitatioues." 

On the whole, this is a fine and striking composition, and, as respects some points, 
deserving of considerable praise. The drawing throughout is determinate and correct, 
while that of the hands of the Virgin is even delicate and refined, notwithstanding 
the heaviness of some of the lines. The expression and action of the Virgin mother 
are tender and agreeable, combined with a noble, even regal style. The weakest 
part of the design is the infant Christ, particularly as respects the extremities and 
head. 

The forms are almost entirely in outline, a few muscular markings and folds 
about the neck and arms only being indicated. The impression has been carefully 
and n'chly coloured, adding much to the ornamental character of the print. It was 
formerly a notable piece of the Weigel collection, and concerning it its previous 
possessor made the following remarks 

" The impression has been worked off in black colour and in a generally satis- 
factory manner, though in many places the black is grumous [griesslich], and in 
others so thickly blurred as to have run over the forms intended to be indicated. 
This is especially the case as regards the inscription, the letters of which are so 
blurred as to be undecipherable without the aid of other inscriptions. 

" The colouring is retained pretty accurately within the contours, and is rather rich 
in style. The inner disc of the nimbus [of the Virgin] and the external border of 
the latter are green, the outermost edge is black, and the innermost border circle 
is cinnabar red in colour. The stars in the border of the nimbus, the Virgin's 
hair, as also that of the child, the crown, the knob and parry-guard of the sword- 
handle, the upper side of the cross, the brooch, and the lining of the mantle are of 
a deep ochre yellow. The mantle of Mary is of a brownish pale carmine red. The 
bonier has yellowish-green edges, and a middle part with alternating cinnabar red, 
white and verdigris green diagonal stripes in it. The tunic and the outer portions 
of the clouds are of a slate grey, as is also though pale -the sword-blade. The 
mouths of Mary and of the Child, the disc of the glory of the Child, the handle of the 
! and the inner side of the clouds are deep cinnabar red, the flesh parts of 
pale cinnabar red colour. The sides of the Cross, the border, and part of the cru- 
ciform appendage of the Child's glory, are of a pale carmine red ; the inner part of 
tin- cruciform appendage, the crown of thorns, and the under stratum of the clouds 
are of a like green colour to that of other green objects. The cuff of the sleeve, the 

i.U of the clouds and the scrolls are of the natural colour of the paper." 

A black, but here and there imperfectly impressed, line encloses the compo- 
sition. 

The technic is indisputably that of Upper Germany, but to judge from the 
>-t\ !. of colouring adopted, particularly from the dirty, cloudy carmine red, the yel- 
lowish-green, and the dirty, dark ochre yellow colours, it can hardly be that of 
.Swahia, though the free use of cinnabar points to Augsburg. 

Tin- t'nnn of the parry-guard and the stiff, hooked folds of the drapery, would 
place tin* time ol'thf production of this print in the middle of the second half of the 
fiftrfnth century. A watermark is not apparent. 

[15 X 10} in.] [Coloured.] 




I 5 8 METAL CUTS. 

C. 12. 

THE VIRGIN AND CHILD WITH FEMALE 
SAINTS, OR A "HORTUS CONCLUSUS." 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

PAYS-BAS (?). 

(No. 53, WEIGKL.) 

^HE Blessed Virgin with the infant Saviour and eight ' female Saints are 
seated in a circle within a garden, the composition representing a variety 
of that which is known in Art History as a " Hortus Conclusus," which 
embodies the words in the " Cant k-um Canticorum," cap. iv. v. 1 2- 
15 

" Hortus conclusus soror mea sponsa, hortus conclusus, fons signatus . . . funs 
hortorum." 

Above and about the centre of the circle sits the Virgin, directed slightly to- 
wards the left (of the spectator), holding the infant Christ on her lap, whom she in- 
clines towards St. Catherine. On the head of the Virgin is a richly decorated 
crown, on the high and open arch of which is a small cross. A circular nimbus is 
also present. The ample mantle, which spreads in folds upon the ground, is open 
above in front, exposing the tunic, girdle and left hand, which touches tenderly the 
infant's right foot. The head-cloth falls gracefully over the Virgin's shoulders. The 
infant Christ is entirely naked, and is supported on His mother's right thigh by her 
right hand. A cruciform nimbus is over the Child's head ; He puts out the ri<rht 
hand to meet the right hand of St. Catherine, and places the left hand on His chest, 
while He looks down upon the union of their hands. 

On the right hand side of the Virgin sits St. Catherine of Alexandria, whose 
head is encircled by diadem and nimbus. At her feet is a wheel lying flat on the 
ground, in her left hand the handle of a straight sword directed obliquely down- 
wards to the wheeL St. Catherine puts forward her right hand to meet that of the 
infant Christ, about to place the ring upon her finger, which ring, however, is not 
here to be satisfactorily made out. This action represents the " Marriage of St. 
Catherine," which, " however treated, must be considered as a strictly devotional 
subject; it is not an incident, it is an allegorical vision imply ing the spiritual union 
between Christ and the redeemed soul. This is the original signification of the 
subject, and there can be no donbt that the religious interpretation of the ' Song of 
Solomon,' with all its amatory and hymeneal imagery, led the fancy to this and 
similar representations . . . the introduction of angels as attendants or of beati- 
fied personages as spectators, or other ideal accessories, must be considered as 
strictly in harmony with the subject, lending it a kind of scenic and dramatic inte- 
rest, while it retains its mystical and devotional character." ( " Sacred and Legen- 
dary Art," p. 287.) 

On the other side of the Virgin is St. Dorothea looking towards St. Barbara 
on the right. A nimbus encircles her head, around which it* a wreath of roses. She 
holds a basket of flowers (roses ?) before her. By her side sits St. Barbara, who 
looks up at St. Dorothea. Over her head is a nimbus, and the long hair falls be- 

1 A small part of the drapery only of one Saint is represent c<l. 



VIRGIN AND CHILD WITH FEMALE SAINTS. 159 

low the shoulders. Her mantle is slightly open over the chest, exposing the tunic 
and girdle. She supports a tower on her knees with both hafids. There are three 
windows in the tower, which is circular and surmounted by a slender-pointed top, 
at the extremity of which is a knob. 

Next, and at the lower part of the circle, sits St. Margaret, whose back and 
profile-face are towards the spectator. Both diadem and nimbus encircle the head, 
the long hair of which descends below the waist. The mantle of St. Margaret 
fulls completely down from the shoulders, displaying the left arm and tight-fitting 
tunic. The Saint's left hand rests upon her knee, and from it passes down a cord 
or chain securing a dragon by the upper part of the body, who is on the ground 
in front turning his open mouth towards the right. St. Margaret looks towards 
St. A | ii '11 "iiia. who is seated next to her, and in the front of the general circle of 
beatified attendants. The back of the latter Saint is towards the spectator, while 
her profile-head is turned towards St. Margaret, whom she appears to be address- 
in;: from the upraised position of her right hand. St. Apollonia holds erect in the 
left hand a pair of large forceps, containing a tooth. To the left, on a level with 
St. Apollonia, sits a Saint [St. Beatrix ; St. Brigidaof Kildare?], whose name it is 
not easy to determine, since the lower part of the print has been torn away, and with 
it probably the representation of an emblem which might have made the diagnosis 
easy. The front of this Saint is turned towards the spectator, the three-quarter 
profile-face and her action are directed towards the left, where sits St. Ursula on 
a level in the circle with St. Margaret on the right. The unknown Saint holds a 
long and lighted candle in her right hand ; her left hand is on her lap. She is clad in 
inuntle and tunic, the former open in front ; her long hair falls over the shoulders; a 
nimbus encircles her head. She appears to address St. Ursula on the extreme left. 
On the head of the latter are both diadem and nimbus ; she holds a large arrow in 
the left hand. She turns towards, and appears to address, the Saint with the lighted 
candle, throwing back the head somewhat and raising the right hand. Above St. 
Ursula is seated another Saint, but of whom only a small part of the nimbus and 
of the drapery is represented. A strip of the impression is defective at this side, 
from which parts of a tree, of the wall, of St. Ursula, and of the Saint above her 
are wanting. 

The " Hi >rt us Conclusus " is within a low octagonal wall and contains four 
trees at the background with flowers and herbage sparsely scattered in front. 

This print was formerly in the Weigel collection, and is referred to in the 
" Anfiinge, etc.," as follows 

"The drawing of our print, though certainly not incorrect, is nevertheless 
rather hard ; the folds of the draperies are often angular, and not satisfactorily 
Hi-re and there in the draperies, particularly in those of the Blessed Virgin, 
some hatchings may be found. The technic is heavy and craftsman-like, and the 
expression given to the faces by the draughtsman has been rendered in a laboured 
and imperfect manner. The impression worked off in black colour with the press 
i.- nut everywhere sharp, and is often grouty or grumous, as, e. g. in the hair of 
the pci-Mnis seated lowermost in the circle, where there is much black colour, and 
in many of the emblems. The colouring is of a negligent kind, and very peculiar 
as respects the colours selected. It is true that the mineral green employed for the 
the ground, the tunics of St. Margaret, St. Barbara, and of the unrecog- 
ni/ahle Saint U of usual occurrence, as is also the deep nrlire yellow of the nimbi, 
the eniwn-. hair, tree-stems, and wooden objects. The like may be Mated \' the 
mineral nine emplovcd in the mantle of the Hle.sed Virgin. On the ether hand, 
the IIM- i if mineral trreen for the wall, as also the fnllnwin;.' circuimtaiices. an- 
striking. The Bli-M-il Virgin wears the Imperial Crown (Kinprcn of Heaven, see 
(irimiii. -rrefa-v y.nr < inMrnen Selnneide d<- Konrad von Wiirzhurg,' S. xxxvii. t". ). 
the h<><>]> or arch of which, ^niinr tran-\ersrly over the crown, and bearing the 
rni--. is rilif, and the semi-hoop, paing from the back to the central point ^f 
the chief lump, is bright blue in colour. The tunics of St. Katherine, of the 



160 METAL CUTS. 

Blessed Virgin, and the mantle of St. Dorothea are of a cherry-red colour, in 
various gradations. " The mantles of St. Ursula and of St. Margaret are dark 
violet, the first redder, the second bluer in tint than the other respectively. The 
drapery of St. Apollonia is green, shaded with violet, giving rise to a ' watered ' 
appearance. The colours here noted are peculiar to this print, and have not boon 
observed by us elsewhere. From this style of colouring we must conclude that our 
example was not produced either in Swabia or in Franconia. Perhaps this style 
of colouring sprang from Cologne or from Burgundy. 

"The arrangement of the hair of the females, the strong curls of the infant Christ, 
the close-fitting bodices of the tunics, the already somewhat angular folds of the 
draperies, the strong marking of the female breast, and the mannered action of tlu- 
right hand of St. Apollonia, induce us to ascribe the production of the print to t lie 
third quarter of the fifteenth century. 

" The paper is strong, somewhat grey in colour, and has the bull's-head, with 
a short stem ending in a cross, as water-mark." 

According to the author here quoted, there is a picture ascribed to Meister 
Willu'lm. of Cologne, in the Royal Museum at Berlin (No. 1238), which has much 
analogy to the present composition. The student will do well to turn to some copy 
of the much discussed " Brussels Print of 1418 " for a modified treatment of the 
present subject. References to such copies may be found in the author's " Intro- 
duction, &c.," vol. i. p. 1 68. 

[lO X 6^ in., imperfect.] [Coloured.] 



C. 13- 
SAINT JEROME. 

MIDDLE OF THE FIFTEENTH CENTURY. 
UPPER GERMANY. 

(No. 24, WEIOEL.) 
(One of the Four Fathers of the Latin Church, Cardinal. Jfc 420.) 

IT. JEROME is seated in the middle of the composition, occupying 
nearly its entire length. He is directed towards our left hand, \\ii.-iv 
sits the Lion. To the right of the Saint is a desk with an open In nk 
on it, above which is a lanthorn with a light, suspended by a thick <<>r<l 
from a kind of gibbet-like support which springs from the border line of the print. 
St. Jerome is of youthful appearance, is in cardinal's costume, with a nimbus 
over the hat. The (lowing cloak is open slightly in front over the chest, displaying 
the tunic beneath. 

The Lion is of the heraldic type, and rather grotesque in appearance. He 
raises the left paw to the hands of the Saint, who is extracting the thorn from it. 
Above the Lion, and forming part of the background, are rocks and two trees. The 
angular steps of the scat on which St. Jerome is seated descend to the inner and 
lower border line of the print 

Above the head of St Jerome is written, in MS., in black ink, feantr 9 
(Sfiontm 9 , in red ink ieronim 9 , and again in black ink, in large characters, 3teronl3. 
Lower down, near the right shoulder of the Saint, is written in small and now faint 
characters 

" ftancto ccrom ora pro me ? 




SAINT JEROME. 161 

On one page of the book open on the desk may be read 
" 3D 05?te/ierom/me o/ra pme/ff. 0fc." 

The print has been coloured. The nimbus, tree stems, lion, seat, desk and 
lanthorn are yellow. The cardinal's hat, light in the lanthorn, cord of the latter, 
lion's tongue, &c. are of red lead of various gradations. The mantle and rocks are 
of carmine madder ; the foliage, and part of the ground and background, are of * 
bright green tint; yellow colour has been applied between the double black border 
line*. The face of the Saint and the cape of his mantle have been left white, with 
the exception of the mouth, which is bright red. The marking of the folds of the 
drapery is peculiar. 

The bright style of colouring adopted leads to the supposition that Bavaria, or 
at least Upper Germany, wa the place of origin of the print. 

[7f X 5S-i".] [Coloured.] 



C. 14. 
SAINT NICHOLAS OF TOLENTINO. 

MIDDLE OF THE FIFTEENTH CENTURY. 

GERMANY. 

(A chief Saint of the Order of St. Augustine. ] 1305.) 
(No. 35, WKIGKL.) 

;.EXT to the patriarch St. Augustine, the chief Saint of the Order of 
the Augustines, is St. Nicholas of Tolentino. He is here represented 
standing, clad in the habit of his Order, tonsured, the head encircled by 
a large and bordered nimbus, and with a six-rayed star upon his breast. 
In his left hand he holds a long blossoming lily stalk, and in the right hand a dish, 
on which are two birds, one of which has large outspread wings. The Saint U 
beardless and of inexpressive countenance. On the right hand kneel three figures, 
apparently fattier, mother and son. The father wears a short coat without 
collar, buttoned in front, and having a skirt with full folds, such as appears on the 
dancing figures of certain Italian tapestries, which are considered by Keller 
to be of Italian origin. His yellow hose reach to the soles of his feet. The 
mother is draped in a long close mantle and folded linen head-dress. The MO 
baa on a short coat without collar, girded round the waist. All three figure* 
raise their clasped hands, and look up to St. Nicholas as if asking for hia inter- 
Mnon. 

On the left hand is a long, broad and waved scroll, running the whole 
length nearly of the print. On this scroll is inscribed, in rather Urge monkish 
characters 

" $anetu0 % nicolaue jr Uf jr tolrmmo jr 2DrHini0 j: 0ancti jc aucu0tim r." 

_'!< black bonier line encloses the composition. The print ha* been 
slightly rut away at the lower part. 

Colour has been had recourse to. The long cowled rolic of the Beatified 
Augustininn Friar is of a dark brown, from below which robe on one ikle at 
the feet (m>t vi-il,].-). and m.-r each wrist, small portions of the white 
under-dress may be seen. TIM- \\aist girdle is of a deep maroon colour, 
star, the border of the nimbus, the bodies of the birds, the dish and 




162 METAL CUTS. 

the hose of the kneeling father are dirty yellow. The disc of the nimbus, the 
draperies of the kneeling female and her son, the wings of one bird and the scroll 
are of a madder red colour. All the faces and hands are shaded in light red ; the 
lily stem and foreground are bright green. 

Though the countenance of the Saint is very poor in design and expression, 
the drawing generally is easy and correct, and the actions of the kneeling figures 
in particular are good. 

" The draperies are long, flowing, and soft. In their folds are to be seen the 
small hooks only which had already appeared before the year 1450. The impres- 
sion was taken with the rubber most probably. The ink of impression is of a deep 
black colour, and has sunk through the paper. The colouring is careful and lively. 
.... The paper has half an ox for the watermark. The print was most likely 
produced shortly after the canonization of the Saint, or towards the middle of the 
fifteenth century, as is evidenced by the flowing draperies and their soft folds." 
(Weigel.) 

[9r X 7iin., imperfect.] [Coloured.] 



C. 15- 
SAINT SEBASTIAN. 

MIDDLE OF THE FIFTEENTH CENTURY. 

BAVARIA. 

(Patron Saint. $- 287.) 

(No. 29, WEIQEL.) 

N a hillock in the middle of the foreground of the composition stands 
St. Sebastian, bound to a tree, the heavily-leafed top of which ex- 
tends from the Saint's shoulders to the upper border line of the en- 
graving. The head is slightly directed in action towards the right, 
the hair is dense, and the Saint is bearded ; a circular nimbus surrounds the 
whole. The body is pierced by nine arrows, and is undraped with the exception 
of the clothure of the hips by narrow close-fitting drawers. On our right are two 
soldiers, one of whom is drawing a bow and arrow on the Saint ; the other is hold- 
ing an arrow in his mouth while he gets ready a cross-bow, which he supports on 
his right knee and leg, as he rests on the edge of the hillock. The caps of these 
men are rather peculiar, being round and close-fitting at the tops, and having broad 
bands of fur (?) at the lower parts. The soldier with the cross-bow has on short 
black boots. On the left hand stands another soldier drawing a bow and arrow on 
the Saint. His hat is slouching at the brim, and sharply pointed at the top ; he 
has on soft yellow leather boots, folded over at the knees. The style of the 
sleeves is noteworthy. The drawing of the tree foliage is careful and peculiar, 
quite out of the conventional manner of the time. The folds of the draperies do 
not exhibit any hooked forms. 

The print has been coloured. The body of St. Sebastian has been left white, 
the nimbus, tree stem, bows, arrows and boots of one soldier are bright yellow ; 
the tunics of two of the soldiers are of madder; the dress of the soldier with t la- 
cross-bow and the cap of the one on the left are brownish-grey in colour ; the hair 
of the Saint and the fur of the caps of two of the soldiers are of a deep brown. 
The foliage and the foreground are bright green. A rather broad black border 
encloses the composition. 





SAINT SEBASTIAN. 163 

According to Weigel the impression " appears to have been taken with the 
rubber. The costume points to the end of the second quarter of the fifteenth 
century as the time of the print. We conjecture that it was produced at Al- 
tetting, the patron Saint of which was St. Sebastian. The style of colouring 
agrees with that of the prints of Upper Bavaria. The watermark is a bull's head, 
of which the lower part only is visible." (Op. cit. vol. i. p. 3.) 

[7f X 5|- n.] [Coloured.] 



C. 1 6. 
A FEMALE SAINT AND MARTYR. 

LATTER PART OF THE FIFTEENTH CENTURY. 
PAYS-BAS(P). 

a raised step in the foreground stands a female Saint, directed in 
action towards our left. On her head are a diadem and nimbus ; the 
long hair falls over the shoulders. She is clad in mantle and tunic ; 
in her left hand she bears a palm branch erect and raises the right to 
a level with her waist, which is high. Her feet are just visible, clad in shoes. 
She appears to stand beneath an ornamental arched canopy, which is supported by 
a column on each side, the bases of which columns come down in the foreground to 
the inner border line of the print, and are somewhat in advance of the feet of the 
figure. Above, however, the head and nimbus of the Saint are in advance of or 
before the upper part of the canopy which springs directly from the capitals of 
these same columns, showing great carelessness of design. 

Between the columns and behind the figure hangs a floriated curtain or drapery. 
On the top of a circular ornament placed on the upper edge of the arch of the 
canopy at each side sits a bird in profile. A broad double-lined border encloses 
the design. In the upper border space is an inscription partly in reverse, the 
words being intended apparently for >ant . .fttartpr, but relative to what Saint 
and Martyr we cannot decide, as not any particular symbol nor personal attribute 
in present. Though the proportions are bad, some parts of the drawing show 
practice and knowledge, while others are wretched. 

Colour has been applied in a coarse and heavy manner. The disc of the nim- 
bus, diadem, palm branch and lining of the mantle are yellow ; the border of the 
nimbus, mantle, arch of the canopy and columns are shades of red madder ; the 
curtain and ornaments of the canopy shades of green. The step, capitals and part 
of the bases of the lateral columns are yellow. The border between the lines is 
also yellow. 

The technic of this print is peculiar. . At first sight it appears that much of 
it is of handwork alone, but close examination will show that the handwork has 
been confined to thickening some of the lines and filling up the spaces between 
lines imperfectly worked off in the impression. The different coloured inks in 
such lines betray the process. We suspect that there was both intagliate and 
relief work on the original metal, which was executed probably for experimental 
purposes. From the form of the letter we read u a t in " Sant," we incline to 
think this print may be of Flemish origin. 

[6[ x 4i in.] [Coloured.] 




164 METAL OUTS. 

C. 17. 

FOUR CUTS FROM THE "HORACE" PRINTED 
AT STRASSBURG. 

* 

1498. 

UT a. The illustration to the tenth ode of the second book, fol. 
x x \viii. G ii. 

Cut b. The illustration to the thirteenth ode of the third book, fol. 
Ixi. L i. 

Cut c. The illustration to the fifth ode of the fourth book, fol. Ixxx. verso. 
O ii. 

Cut d. The illustration to the tenth ode of the fourth book, fol. Ixxxvi. P ii. 
On the verto is the illustration to the eleventh ode of the fourth book. 

The work from which these cuts hare been taken has the following title 
(above a large cut on the recto of the first leaf) in Gothic characters 

" horatu flacci Clrnucini. 
BDoete Itrici opcia en qui 
biiflDam annotatoib 8 Jmaomifcucqur pulcbcr 
rimifl. aptiaqtic aU aTDaill cone etna jc ecntfuao." 

On the verso of folio ccvii. is the following colophon, the first line of which 
ia in Gothic characters, the four other lines are in Roman type 

Clafaoratum imprf aoumquc e0t. fl?oe efe0an rna 

turn : splcdidum : comptumque Horatii flacci Venesini. lyrici Foete opus, cum 

utilissimis ar 
gumetis: ac imaginibus pulcherrimis : in celebri : libera: imperialique urbe 

Argentina, opera 
et Tpensis sedulis qque laborib" Providi viri Johanis Reinhardi cognometo 

Giirninger ci 
vis eiusde urbis argetinensis : qrto idus Marcii absolutu vero Anno domini 

M.ccccjccviii." 

Dr. Dibdin, in noticing this edition of Horace (" Bibliotheca Speneeriana," 
rol. ii. p. 90), remarks 

" The first and every book of the odes, and indeed of the entire works of 
Horace, are filled throughout with a profusion of small whole-length figures con- 
stantly repeated. These figures are occasionally the name in character with those 
which appear in our own early printed books of the fifteenth century, ospprinlly 
in the Shepherd's Calendar. The collector may also meet with them in the small 
pieces of Copland and Wyer, as well as of almost every printer of the same period ; 

nor must it also be concealed that the greater number of them will be 

found in succeeding early editions of Virgil and Horace." 






DIVISION D. 

WOODCUTS. 




PREFATORY REMARKS. 



I ROM the history of wood engraving having now 
become a part of popular knowledge, and con- 
sidering what has been already stated in former 
prefatory remarks, we may be excused from en- 
tering here into details which otherwise might 
have been not unnecessary. It must suffice to 
call attention to the following points only in con- 
nection with this department of Art. 

1. The earliest date hitherto met with on an impression from an 
engraved wood block, and which is generally accepted as genuine, is 
1423. This date may be seen on the well-known " Buxheim St. Chris- 
topher " in the possession of Earl Spencer, which was shown at 
the " Caxton Celebration Exhibition," held at London in the year 
1877. It is not improbable, however, that this particular impres- 
sion was worked off a few years after the block had been engraved ; 
but this remains an open question. 

2. There is a print known as the " Brussels " or " Malines 
Print" the Virgin and Child and four female saints as a Hortus 
conclusus on which is the date 1418. But it is the opinion of some 
good authorities that the numerals on the print have been tampered 
with, Passavant having gone so far as to maintain that the date had 
been originally 1468. Be this conclusion correct or not, it must be 
admitted that there are sufficient doubts as to the validity of tho date 
1418 as to authorize objections to the precedence of this print over 
the St. Christopher of 1423. 

3. There are reasons for believing that a few impressions from 
wood blocks engraved before 1423 (and 1418) have come down to 



168 WOODCUTS. 

us. But these extremely rare examples have not any dates on them, 
and it is their intrinsic characters of design and technic alone that 
may incline the observer to accept or reject the early dates assigned 
by certain writers for their production. We know for a surety, how- 
ever, that the death of an " incisor lignorum " is recorded in a ne- 
crology of the Nordlingen Franciscans, which ends with the com- 
mencement of the fifteenth century, 1 and that a person was entered 
on the Burger books of Nurnberg as Hans Formschneider in the year 
1397. Exception has been taken, nevertheless, to these early records, 
it having been supposed that " incisor lignorum " may refer to a 
wood carver, and that the early Burger books are not to be depended 
on for exactness. 

"The Burger books/' writes Heller, "were very superficially 
compiled, and the profession was but seldom given. Some persons 
were named either after their trades or their birthplaces, as, for ex- 
ample, Hans Schmidt, Hans Formschneider, Hans from Apolda. 
The information obtained from these books is, therefore, not always 
to be trusted, and a person who appears as Formschneider may as 
readily have had this name as a family name, as the term to signify 
his business. Thus in the Burger books of Nurnberg of 1397 there 
appears a ' Hans Formschneider/ but he was a tailor, and his name 
was Hans Forman. In the Nordlingen books may be found one 'Hie- 
ronimus Brieftrucker/ but he was a shearer." (Op. cit. p. 25.) 

An impression from the seal " S. Johannis Plebani," rector of 
St. Moritz at Augsburg, with the date of 1407 on it, is extant and 
has been impressed from a seal engraved in relief either on metal or 
on wood but from which is doubtful. But independently of all 
actually recorded dates earlier than the time of the St. Christopher, 
if the date of the latter print be accepted as truly denoting the time 
when it was produced, 1423, and the design and technic of the print 
be considered, it surely must strike every one that, although it ex- 
hibits traces of the childhood of the art, the cut in which they occur 
must have had predecessors. It can scarcely be supposed, consider- 
ing the state of the arts at that time, that the first trial in the practice 
of wood engraving should have turned out so successfully and that 
it would be provided with a date. That none perhaps, or so few 
and doubtful of the immediate contemporaries of the St. Christopher 
have reached our time, is explainable probably in the following 
manner. The cuts in question were printed off on a soft and tender 
cotton paper and distributed chiefly among common people and 
children at the schools of brotherhoods and convents. Hence they 
became soon destroyed. Had printed books existed at their period 

1 I Idler, " (u-schichtcder Holzschneidekunst,etc.," Harabcrg, 1823, pp. 19, 25. 






PREFATORY REMARKS. 169 

or had MSS. been in the hands of the many, some of these incu- 
nabula might have descended to us in the way that others of a later 
origin have done pasted in the covers or on the leaves. But such 
was not likely to have been the case, the commonalty in general 
could not read even if such books had existed, or if MSS. had been 
within their reach. Those persons who then possessed manuscripts 
and MS. books belonged to the higher and richer classes, and to 
them whose tastes had been formed on the delicate and beautiful 
work of the miniatori, such, too often uncouth and gaudy prints, as 
many of these primitice must have been, would offer but small at- 
traction ; hence their chances for preservation were reduced to a 
minimum. 

It k not unlikely, however, that could we now see certain of the 
earliest predecessors of the Buxheim woodcut, which have escaped 
us they might be found less uncouth and Gothic than are their im- 
iediate successors, since it is probable, as before observed (p. 50), 
/that traces of the Byzantine characteristics of religious Art would 
have pervaded them instead of their being merely a craftsman-like 
and vulgar translation of the Gothic principles of the schools of 
Flanders and of Cologne. Be this as it may if when we look at 
the St. Christopher, with a date of the first quarter of the fifteenth 
century, and confess it must have had its forerunners, what are we to 
think when we look at some of the block books to which not a few persons 
have been disposed to assign a nearly, if not quite, as early a time 
of origin ? That certain of these xylographs, as e.g. the " Ars Me- 
morandi " and the " Apocalypse," may not be much younger than 
the print in question may be conceded perhaps, as also that not much 
more talent, whether of design or technic, is displayed in them. Yet 
of these, as of other incunabula, it maybe said that inferiority of design 
and technic does not necessarily imply antiquity, as a work may be 
simply bad and not old. But what are we to say of the " Ars Mo- 
riendi," the first edition, now in the General Library of the British 
Museum ? Of the first edition so considered by some of the 
" Biblia Pauperum " belonging to the department of Prints and 
Drawings ? Some of the designs in the first work are worthy of 
Van Eyck himself they are beautiful and their technical execu- 
tion far beyond anything like that of the other incunabula which have 
been mentioned. To several of the designs and figures in this parti- 
cular edition of the "Biblia Pauperum" also high praise may be given 
if not so high as in the case of the " Ars Moriendi " for the 
manner in which the drawing and tochnic have been carried out. In 
these xylographs so much artistic feeling and of practised manipula- 
tion is clearly visible, as to show that both designer and engraver 
were, relative to their times, masters in their arts. If such be the 
case, it must be assumed that those works were produced some timo 



170 WOODCUTS. 

perhaps a quarter of a century after the St. Christopher, or that 
when the St. Christopher was produced there was far higher talent 
engaged in the same department of Art than we should be warranted 
in inferring from the St. Christopher alone. 

M. Ch. Ruelens, of the Royal Library at Brussels, has recently 
(1877) published, as the sixth part of the "Documents Iconogra- 
phiques et Typographiques de la Bibliotheque Royale de Belgique," 
an account of a " Legende de St. Gervais " in MS., illustrated with 
woodcuts which, as far as the designs go, he awards directly to Van 
Byck. M. Ruelens observes 

" Our attribution of the Legende to Jean Van Eyck is marked 
by great boldness, we admit. However, we do not go so far as to 
pretend that he himself cut the wood blocks. He confined himself 
probably to furnishing the drawings of the compositions, drawings 
which a ' tailleur d'images ' rendered as he could. But under any 
circumstances the work bears the living imprint of the intervention 
of the master .... We believe that the Legende was executed after 
the death of Hubert, between 1426 and 1440, the year of the death 
of Jean. Since it might happen that the reproduction of the frag- 
ment of the Agnus Dei ensued while the wound to the heart of Jean 
caused by the loss of his brother was still bleeding, we are the more 
inclined to restrict the preparation of the Legende to between the years 
1426 and 1432." (Op. cit. pp. 8, 9.) 

Hubert Van Eyck died in 1426, Jean in 1440; Meister Wilhelm 
of Cologne died in 1378, and Meister Stephan, the pupil of Wilhelm 
of Cologne, in the year 1451. 

Whoever were the able designers of some few of the early and 
better works of the fifteenth century, the examples which we have 
received of their capabilities are certainly few in number. The mass 
of the prints of that time are, as before remarked, more noteworthy 
for their want of good drawing and of refinement of treatment than 
for their possession of such characteristics. Who the authors also 
of these latter prints were, we know not, as they do not bear any re- 
cognized mark, cipher, &c. to indicate the names of their producers, 
or the localities of their production. 

As we approach the end of the fifteenth century, however, we 
can in some instances make reasonable conjectures, but even then, 
and during the early part of the sixteenth century, the woodcuts 
which come before the iconophilist, and have hereafter to be described, 
are most justifiably entitled as they generally are, indeed 
" Anonymous." 

Among the examples under the present Division (D.) may be 



PREFATORY REMARKS. 171 

found two or three which might with some propriety, we think, have 
been placed among the impressions from metal plates engraved in 
relief. But knowing the difficulties often attendant on the diagnosis 
between the two classes of impressions here implied, we have preferred 
allowing them to remain in that division under which they were 
arranged when they first came before the notice of the present 
writer. 






D. i. 
BIBLIA PAUPERUM (PR^DICATORUM). 

MIDDLE OP THE FIFTEENTH CENTURY. 
NETHERLANDS. 

'HIRTY-EIGHT folios or sheets of an original edition of the Block 
Book, generally known as the " Biblia Pauperum," a title which we 
agree with Heller, Chatto, and some others, in considering as mis- 
leading, and that should be changed to " Biblia Pauperum Praedi- 
catorum." ' 

The complete form of this edition consists of forty folios signatures ft to t) 
twice over. These signatures Gothic letters are placed immediately above the 
middle division of the central triptych in the space formed by the divergence ot 
the two scrolls, running at the lower part of the upper compartment of the general 
composition. The letters of the first twenty sheets are without points (a) before 
and after them ; those of the second twenty have points before and after them 
(* ft '), with the exception of the letters n. 0, C, 0, which are devoid of points. 
In the present copy, the sheets of signatures b and C are wanting. 

As originally issued this Block Book of forty leaves (in one edition there are fifty 
leaves), of small square folio size, received the impressions from the engraved blocks 
on one face only of the leaf anopistographic. The impressed faces were placed opposite 
each other, two by two, in sequence ; the second impressed page being opposite 
the first, the fourth to the third, and so on. By these means the blank sides of the 
second and third leaves, the fourth and fifth, &c. become also opposed to each 
other, so that when they were pasted together the work assumed the appearance 
of a book printed in the ordinary way on both sides of the paper. The two im- 
pressed pages which throughout the book face each other occupy the same sheet 
of paper, and appear to have been printed from a single block, so that the entire 
work i if t'nrty pages was engraved on twenty blocks. 

The copy in the Print Department of the Museum has been cut in half sheets, 
which are now (1878) loosely mounted on thin cardboard. In some respects it 
answers to the first edition of Hcinecken, in others to the second; to the fifth of 
Sothfliy. and is one of the "three original editions of the Latin Bible of the 
Poor" of Berjcun (" Livres Xylographiques," p. 23). 

1 Consult on this point Heller's " Geschichte der Hol/sclim-idi kun-t. 
Bamberg, 1823, p. 341 ; Jackson and Chatto' s "Treatise on Wood Engra\ 
London, 1839, p. 101 ; and Weigcl's " Anfange, etc.," vol. ii. \>. 128. 



174 WOODCUTS. 

Of the edition before us there are several copies or versions. 

Some years since the present copy was in the possession of the late Mr. Samuel 
Woodburn (wanting, as it does now, signatures b and c), after which it passed 
into the collection of engravings formed by Mr. Cunningham a collection pur- 
chased entire by Mr. Smith, and by him sold to the trustees of the British 
Museum. 

It is quite beyond the province here of the writer, and of the character and 
limits of this catalogue, to enter on a general critical history of the various versions 
and editions, whether MS., xylographic, or typographic, of this Block Book the 
" Biblia Pauperum." The subject has been largely treated of by several well- 
known writers, and to these reference must be made for information concerning it. 

From among authorities on the subject of the "Biblia Pauperum," the follow- 
ing may be selected as likely to answer the purpose of the general inquirer 

" Idee Generate d'une Collection complette d'Estampes." Par C. H. von 
Heinecken. Leipsic et Vienne, 1771. p. 292. 

" An Enquiry into the Origin and Early History of Engraving, etc." By 
William Young Ottley. London, 1816. Vol. i. p. 111. 

"A Treatise on Wood Engraving, Historical and Practical." By John Jack- 
Bon. London, 1839. p. 101. 

" Principia Typographica." By Samuel Leigh Sotheby. London, 1858. 
Vols. i. and ii. 

" Catalogue Illustre des Livres Xylographiques." Par J. Ph. Berjcau. London, 
1865. p. 23. 

Also, by the same author, " Biblia Pauperum," reproduced in facsimile from 
one of the copies in the British Museum. London, 1859. 

" Die Anf ange der Druckerkunst in Bild und Schrift." Von T. O. Weigel 
and Dr. Ad. Zestermann. Leipzig, 1 866. Vol. ii. p. 1 28. 

In the " Introduction " to M. Berjeau's facsimile copy, a full list of writers on 
the subject from the year 1487 to that of 1858 is given. 

It will be our duty here simply to describe such specific marks characterizing 
the technical execution of the present copy as may serve to indicate its relations 
to other editions and copies of the Biblia Pauperum. 

Previous to doing this, however, we cannot refrain from placing before the 
reader the following cautionary observations of T. O. Weigel, when noticing 
M. Berjeau's reproduction of this Block Book 

" The copyist l of the London example, from not properly understanding his 
original, made many mistakes [in the text] ; and just as Heinecken did not read 
them aright, so Berjeau has not always hit on what is the true reading. Thus the 
alterations made by the latter, and given in the ' Interpretatio typorum,' appear to 
us unjustified. The number of places in which, based on a comparison of the very 
readable text of the Leipzig Town Library copy and the text of the Vulgate, we 
differ from Berjeau is too great for us to indicate their details here. We must, 
therefore, confine ourselves to declaring that M. Berjeau's text cannot pass as 
trustworthy, a declaration the more necessary since bibliographers of repute, like 
Dibdin and Falkenstein, and, more recently, Sotheby, have trustingly copied the 
errors of Heinecken, and hence Berjeau also whose great services we would 
as willingly acknowledge as we do those of Heinecken may without examination 
lead to erroneous conclusions." ("Anf ange," vol. ii. p. 136.) 

The central triptych of the illustrations in the "Uiblia Pauperum" is formed 
or divided by four columns, which are sometimes shaded and sometimes not, 
according to the edition. It has been supposed that the plan of the original 
edition of all was to shade three of the columns (beginning with the column on 

1 i.*., the old copyist of the original i--uo. from whose copy of the latter was 
made the facsimile which M. Berjeau published. 



BIB LI A PAUPEBUM. 



175 



the left hand), and to leave the fourth column unshaded, since the greater number 
of the sheets of the supposed original edition exhibit three columns only shaded. 

Secondly. The central mouldings of the bases of the two inner columns of the 
triptych are sometimes shaded, sometimes not, as e.g. 





Thirdly. In certain editions the signature letters of the second twenty cuts are 
without points, as before remarked. 

These characters and their modifications will be made to serve here as diag- 
nostic features, arranged in the following table. 

In the first column of the table are the signature letters, pointless or pointed, 
as they occur in the Print Room copy. In the second division, the number of 
columns of the central triptych which are shaded is indicated. In the third 
division is a key to the shading or not of the central moulding of the bases of the 
inner columns of the triptych. When a moulding is shaded it is marked I, when 
left plain O. 

Sio. 

a 

I 

e 

f 

c 

fr 

i 

& 

I 
m 

n 

o 

P 

Q 

t 


t 

u 

a- 

b- 

c- 

B- 

r 
f- 



i- 

& 
I- 

m- 
n 



COLUMNS SHADED. 


MOULDINGS SHADED. 


4 


I I 


4 





4 


O 


*j 


I 


3 


O O 


3 





2 





3 


o o 


3 


o o 


2 


O 


3 


o o 


3 


O 


2 


O 


3 


o o 


3 


o o 


3 





2 


O 


2 


O 


2 


o o 


2 





2 





2 





3 


O 


3 


O 


3 


00 


3 


o o 


O - - . -- 


o o 


2 


O 


3 





3 





2 


o o 



WOODCUTS. 



Sio. 
o 

p- 
q- 

t 


f 



COLUMNS SHAPED. 

2 

3 - 
3 
3 
3 

1 

3 



MOULDINGS SHADED. 

00 


o o 
o o 






To these particular characteristics may be added the following 
In the architrave immediately above the capitals of the inner two columns of 
the triptych are, in alternate cuts, two triangular-shaped ornaments, the UJ>JHT 
and horizontal division of which is sometimes shaded, sometimes not. Thus it 



On Sig. 8. 



On Sig. f; one shaded, one not. 



Neither shaded on Sigs. 6 p t a r 'i' I n 





Both shaded on Sigs. i I m r '(' '0' 



T T 



The ornament in the arch above the central column of 
the design in the upper division on Sig. 'h' answering to 
Heinecken's mark of the second edition. (Op. cit. p. 307.) 



The tiara worn by Moses, on Sig. -p- has two horns on 
the top, as in Heinecken's second edition. (Op. cit. p. 307.) 



The ornament above the central pillar in the lower divi- 
sion of the design on Sig. *Q', as in IK-incckcn's second 
edition (p. 308). 



On Signature i, and following the word " David," at the lower part of tho 
uppermost design of the general composition, are the figures i. nn<l \vhi, 1 




BIBLIA PAUPEBUM. 177 

writes Mr. Chatto, " I consider to be intended for 34. They are the only 
instances in the volume of the use of Arabic, or rather Spanish, numerals." (Op. 
cit. p. log.) 

The more frequent watermarks in the present copy are the (wo keys, the 
arms of Champagne, and the Paschal Lamb. For an example of the first, see 
Signature to (folio xx.); for the second, Signature e (folio v.) ; and for the third, 
Signature m (folio xii.). 

The following: remarks by Mr. Chatto on the copy of the Bihlia Paupertim, 
in the Kind's Library of the Museum, and which was formerly in the collect inn 
of M. Gaignat, at the sale of whose cabinet it was bought for King George III., 
are worthy of quotation in connection with the account of the Print Room 
edition. The former is 

" a small folio of forty leaves, impressed on one side only, in order that the 
blank pages might be pasted together, so that two of the printed sides would 
thus form only one leaf. The order of the first twenty pages is indicated by 
the letters of the alphabet, from a to to, and of the second twenty by the same 
letters, having as a distinguishing mark a point both before and after them, thus 
'&'. In that which Heinecken considers the first edition, the letters n. o. I, 
of the second alphabet, making pages 33, 34, 37, and 38, want those two distin- 
guishing points which, according to him, are to be found in each of the other three 
Latin editions of forty pages each. Mr. Ottley has, however, observed that Earl 
Spencer's copy wants the points on each side of the letters it, 0, r, of the 
second alphabet thus agreeing with that which Heinecken calls the first edition, 
while in all other respects it answers the description which that writer gives of the 
presumed second. Mr. Ottley says that Heinecken errs in asserting that the 
want of those points on each side of the said letters is a distinction exclusively 
belonging to the first edition, since the edition called by him the second is likewise 
without them. In fact, the variations noticed by Heinecken are not only insufficient 
to enable a person to judge of the priority of editions, but they are such as might 
with the greatest ease be introduced into a block after a certain number of copies 
lia<l been taken off. Those which he considers as distinguishing marks might 
easily be broken away by the burnisher or rubber, and replaced by the insertion 
of other pieces differing in a slight degree. From the trifling variations noticed by 
Hcinecken in the first three editions, it is not unlikely that they were all taken 
from the same blocks. Each of the triangular ornaments in which he has observed 
a difference might easily be reinserted in the event of its being injured in taking 
an impression. The tiara of Moses, in page 35, letter *p', would be peculiarly 
!i;il.|f to accident in taking an impression by friction; and I am disposed to think 
that a part of it has been broken off, and that, in repairing it, a trifling alteration 
has been made in the ornament <>n its top. Heinecken, noticing the alteration, has 
'lered it as a criterion of two different editions, while in all probability it only 
marks a trifling variety in copies taken from the same blocks." (Op. cit. p. 105.) 

Not long after the Print Room copy had been obtained by the Trustees of 
ili- Museum (which was shortly before the death of Mr. Joni, then Keeper), Mr. 
Carpenter made a careful comparison of it side by side with the copy in the 
King's Library before mentioned. The results of this comparison were noted in 
MS. by Mr. Carpenter on the mountings of the sheets of the Print Room edition. 
A transcript of these notes here follows 

A, fol. 1. (See under D. 2.) 

. K, fol. 4. The form of the flame of the taper held by the female in 
the centre coinp,ition of the I'm ideation is totally different from that in the 
copy in the Library of the I?riti>li Museum. The Gothic tracery al o\e the 
nltar in the mmpoMtion to the right ol' Samuel's devotion to the Church is 
much better drawn in this ccpv. 

N 



178 WOODCUTS. 

Sig. F, foL 5. This appears to have been printed from a block of a much 
coarser grain than the same print in the copy in the Library of the British 
Museum. There are also differences in the forms of the design ; see the tree 
in the centre design of the flight into Egypt ; also the drapery thrown over the 
stick of Jacob.on the left, and the windows at the foot on the right. 

Sig. F, fol. 6. In this print there are evident differences between it and 
the one in the Library. See the spots on the broken Tables of the Law in 
the design to the left; see also the broken spear of the falling idol in the centre 
design, and the hand of the broken idol on the ground to the ri^ht. 

Sig. G, fol. 7. This differs from the Library copy. See the forms of the 
hands and the outline of the hair in the kneeling figures in the design to the left ; 

i No the form of the sword of the figure near the foreground in the centre 
(IrMirii. and the right hand of the female figure standing on the left in the design 
to the right hand. 

Sig. II, fol. 8. The trees in the three designs are very different from those 
in the other copy, and the drawing of the cattle in the design to the right is very 
different. 

Sig. I, fol. 9. The drawing of the feet of the figures in the design to the left 
is very different. The tops of the buildings to be rfeen across the sea are more 
pcrj)endicular here than in the other copy. The drawing of the foot of St. John 
in the centre design is better here. The hands of the man bearing the grapes, 
who walks first, are different. 

Sig. K, fol. 1O. See the difference in the form of the flames about the pot in 
the design to the left ; also in the architecture in the background of the centre 
design ; also the forms of the branches of the trees in the design to the right. 

Sig. L, fol. 1 1 . See differences in the forms of the trees and the lines of the 
landscape in the design to the left ; also in the centre design, and in the child in 
the design to the right. 

Sig. M, fol. 12. See difference in the ornament above the pillar which 
rises between the two prophets at the top ; in the drapery of the angels in the 
design to the left. 

Sig. N, fol. 13. Observe the variations in the background to the left; in 
the drapery falling over the feet of the Magdalen in the centre design ; in the 
herbage in foreground of design to the right. 

Sig. O, fol. 14. See trees in the background of the design to the left; also 
pinnacle on the building in the background of centre design, and the tree, and 
better drawing of the building in the background of the design to the right. 

Sig. P, fol. 1 5. Compare the drawing of the lamb on the shoulder* of the man 
in the centre design with that in the other copy ; also the trees and lines in the 
distance of design to the right. 

Sig. Q, foL 16. See ornament above the centre pillar in the top design; 
also the forms of the feet, both in design to the left and to the right. 

Sig. R, fol. 17. See differences in trees in design to the left; also the superior 
drawing in the architecture to the right 

Sig. S, fol. 1 8. Notice the trees in design to the left ; the lines above the 
windows in the centre design ; also the superior drawing of the heads ; the lines 
in the sky in the di-M-Mi t<> the rijilit. 

Sig. T, fol. 19. Observe the differences in the working of the lines on the 
foot of the man in armour behind the king on the design to the left ; also the 
superior drawing of the drapery over the tub in the centre den'-n. 

Sig. V, fol. 2O. See differences in the drawing of the demons, and of the 
instruments they hold in their hands in tin- <k-i_'ii t<> tin- l.-i't : diH'erenecs in the 
hands of Christ in the centre design ; also in the flames at the bottom of design to 
the right 

Sig. *A', fol. 21. See differences in tree and lines of ground in design t<. the 
left ; in the form of the club in the hand of Mulcting in the centre design ; also of 



BIB LI A PAUPERVM. I 79 

the lines on the casques of the men-at-arms in the design to the right. This has 
not the distinction noted by Heinecken as marking what he considers the first 
edition. 

Sig. *B% fol. 22. See differences in the pinnacle of the throne above the head 
of the queen in the design to the left ; also of the foot of Pilate in the centre de- 
M-ii, and the drawing of the feet in design on right hand. 

Si'_ r . 'C', fol. 23. See drawing of the bank below the figure of Noah in the 
ilc-Mini to left; the minarets and trees in background of design to the right. 

Sig. -D', fol. 24. Observe differences in the stones on the ground, and in 
the form of the club of the armed man dragging Christ, in the centre design. 

Sig. 'E', fol. 25. See differences in the anatomical markings of the body of 
Christ in the centre design. 

Sig. 'F 1 , fol. 26. Notice the ornamental pillar in the centre of the upper part, 
and the markings of the body of Christ on the cross. 

Sig. 'G', fol. 27. The principal difference in this is in the forms of the lines in 
the shadows throughout. 

Sig. 'H% fol. 28. See differences in the forms of the ornament over the pillar 
in the centre of the upper design ; see also difference of form of the leg of 
Samson in the design to the right. 

Sig. 'I*, fol. 29. See differences in form of the cross borne by Christ in 
the centre design ; also of the lines in the head of the fish in the design to the 



Sig. 'K% fol. 30. See ornament in the centre over the pillar in the design at 
the top ; also trees in background of design to the left. The size of the circle* 
about the tomb in the centre design ; also the buildings in background of the de- 
sign to the right. 

Sig. 'L% fol. 31. See shadows under the projection of the cross, on the gable 
of the house in design to the left. Notice the trees and background both of 
centre and right hand design. 

Sig. M', fol. 32. See differences in ornament above the pillar in the centre of 
the upper design ; in lines of background in design to the right. 

Sig. N, fol. 33. See variations in the buildings in the background to the 
left ; in the windows of centre design; in the building in background of design to 
the right. 

Sig. (), fol. 34. Notice the difference in the ornament over the centre of the 
pillar in upper design ; in the tree to the right, and line of distances in the design 
to the left ; in the tree to the right in the design on the right. 

1 '-. fol. 35. See difference in the lines behind the Almighty in design to 
the left; the shadows on the draperies in the centre design; so also in those of the 
fi/uros in the design to the right. 

Sig. -Q-, fol. 36. See differences in form of ornament of the pityar in the 
centre of the upper design; the figures, too, in the Library copy mre outlined only, 
or are without shadows. 

. R, fol. 37. See differences in the trees; in the drawing of the Gothic 
work on the throne of the king ; of the form of the child in swathing clothes in 
the design to tin- rL-lit. The bow on which < 'hrist sits here in the centre design is 
formed wit'i two lines only. The lines of the king's drapery are very different in 
the ile-L'ii to the right. 

K. fol. 38. Observe the differences in the overthrown buildings in the 
to the lel't : the marked variations in the heads of the demon* in the 
ign. The trees and buildings in the design to the right are very du- 
tmilar. 

Sig. -K', fol. 39. See diffei-eneex in the windows of the furthest building in the 
deML'ii en i lie I, ft hand. The heads of the small figure in the centre design are 
.similar. Nntiee al> the form* of the rays in the design to the right, thoM 
in tlu- other set being verv -h : iri> at the points. 



i8o 



WOODCUTS. 



Sig. 'V% fol. 40. The forms of the crowns in both the left side design and in 
the centre one are better in the Print Room copy, and the hands and heads are 
better drawn throughout. 

W. H. C. 



D. 2. 

BIBLIA PAUPERUM. 




MIDDLE OF THE FIFTEENTH CENTURY. 
NETHERLANDS (?). 

Jc3f HREE folios Signatures a, b, C of an edition of the " Biblia Pau- 
perum," different to the edition before described [D. l]. 

The differentia in these cuts are so marked and various, as not to 
leave any doubt that the cuts are from other blocks than those which 
afforded the impressions of the edition D. 1. Attention may be directed, e.g. to the 
general form of the long scrolls in the upper divisions, and in particular to the 
position of their ends in relation to the upper line of the architrave of the central 
triptych in Sig. a. To the form of the letter # in GLOSE and VIRGIS of the eighth 
and ninth Jines of the inscription on the left of the upper division of Sig. 8. 
To the fact of three columns being shaded and one plain in Sig. 8 ; also to the 
drawing of the capital of the central right hand column in the middle triptych, antl 
to the form of the serpent's head in Sig. a. 

A tabular arrangement of details, as in D. 1 , presents the following indica- 
tions 



Sio. 
a 
b 

C 



COLUMNS SHADED. 
3-0 
4 
4- 



MOULDINOS SHADED. 
I I 

o o 
o o 



Mr. Carpenter's notes of his comparison of these sheets with D. 1 and other im- 
pressions, are to the following purport 

" Query if this [a, b] and the following leaf [c] are not of a later impression 
than the rest of the set." l 

" These [a, b] are later impressions of the same blocks as those of the Spencer 
copy bound up with the ' Apocalypse; ' the binding being dated 1467." 

" The marks at the ankles of Eve are here wanting." 

" No. 1, No. 2. On the second page of the copy in the Library of the British 
Museum (c. 9, d. 2), the horns of the cow in the print of the ' Nativity ' arc black. 
The spots indicating nails in the woodwork behind the manger in which the infant 
lies, are far more numerous, and there are not any indications of nails on the side 
of the manger itself, as in the present print. 

" The drawing of the toes of Moses is also different. 

" Not any hatchings here. 

" No. 3 [Sig. c]. In this print the crowns on the heads of the females in the re- 
presentation of the Queen of Sheba's visit to Solomon, are very differently formed 
to those in the copy in the Library of the British Museum, said to be the second 



1 These three folios were formerly included with thcsetD. 1, in order to sujiplv 
the Sigs. b, C, there wanting. 



BIBLIA PAUPERUM. 181 

edition. So is the Gothic tracery in the upper part of the throne of David in the 
left hand design of the middle triptych." 

So far Mr. Carpenter. Mr. Sotheby writes 

" The paper upon which this sheet [Sigs. a and b] is worked, is of a much 
thinner quality than any other we have previously met with as used for the Block 
Honks, and is apparently of Italian manufacture. It has for its watermark on a, 
the Three mounts within a circle. The next leaf, C, is also of the same edition, and 
bears the same watermark. 

" These three leaves [a, fa and c] were obtained from an imperfect copy in 
the possession of Messrs. Payne and Foss ; the remaining twenty-eight leaves of 
that copy were sold at the sale of their stock of books in 1 849, when they were 
purchased by Mr. Stevens, the American bookseller, for l 1 54." (" Principia 
Typographical' vol. i. p. 59.) 



D. 3 . 
BIBLIA PAUPERUM. 

MIDDLE OF THE FIFTEENTH CENTURY. 
NETHERLANDS (?). 

ORTIONS of three cuts Signatures B, It, I of an edition of the 
" Biblia Pauperum " different from the editions previously noticed. 




D. 4 . 
BIBLIA PAUPERUM. 

(ORIGINAL, MIDDLE OF THE FIFTEENTH CENTURY.) 
NETHERLANDS. 

llRST proof of a facsimile of Signature a from a copy of the " Biblia 
Pauperum," formerly in the possession of Mr. Wilson and afterwards of 
Lord Vernon. The proof was taken in the year 1853, and presented 

to the Museum by S. Leigh Sotheby, K-.j. 

In connection with this facsimile, reference should be made to Sotheby's M Prin-- 
cipia," vol. ii. p. 51. 





182 WOODCUTS. 



D.5- 
BIBLIA PAUPERUM. 

(ORIGINAL, MIDDLE OF THE FIFTEENTH CENTURY.) 
NETHERLANDS. 

FACSIMILE of a cut Signature i from a " Biblia Pauperum." 

This copy was formerly in the collection of the Rev. C. M. Crach- 
ernde, who has appended a MS. note to the print. Mr. Sotheby, it 
would appear, had also an impreision, of which he gives a copy in 
the "Principia" (vol. ii.), accompanied by the following remarks 

" Among our collections formed with the view of illustrating the various edi- 
tions of the Block Books, we have an impression of a wood engraving of the ninth 
page of the Biblia Pauperum, of which our plate is an exact facsimile. We are 
unable to discover of what edition it i*. The engraving in our possession is evidently 
intended to represent some original. All we can state is that, if an edition <l<>rs 
exist, engraved throughout in the same style as that from which our facsimile is 
taken, it must present the most grotesque series of worn! engravings on this subject 
that could well be designed. It may have been engraved as an illustration for some 
work on the Block Books ; if so, it is as ridiculous as the engraving from the ' Biblia 
Pauperum,' given as a ' facsimile ' in the ' Encyclopsedia of Literary and T vim- 
graphical Anecdotes,' p. 94, by C. II. Tiniperly, MDCCCXMII." (Op. cit p. 54.) 



D. 6. 
BIBLIA PAUPERUM. 

(ORIGINAL, MIDDLE OF THE EIGHTEENTH CENTURY.) 
NETHERLANDS. 

ACSIMILE of a cut, Signature H, apparently from the same copy of 
a "Biblia Pauperum," of which D. 5 is a part. 

D. 7. 
BIBLIA PAUPERUM. 

(ORIGINAL, MIDDLE OF THE FIFTEENTH CENTURY.) 

NETHERLANDS. 
DUPLICATE and later impression of the facsimile copy, D. 6. 





APOCALYPSE. 



183 




D. 8. 
BIBLIA PAUPERUM. 

(ORIGINAL, MIDDLE OF THE FIFTEENTH CENTURY.) 
NETHERLANDS. 



PEN and ink drawing of the designs on the second Signature of a 
" Biblia Pauperum." The inscriptions have not been copied. 



D. 9 . 
APOCALYPSIS SANCTI JOHANNIS. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

HE lower design of a page of the Block Book, generally known as " His- 
toria Sancti Johannis Evangelists ejusque Visioncs Apocaly plicae." 

The subject represented is the despatch of the Evangelist to the 
Emperor Domitian. In the scroll at the top of the composition is the 
following inscription in Gothic characters with contractions 

I" $ancru0 Jobannro romam mittitur ac Domictano impetatori cruDeHi00imo 

cbrtotianorum per0rcutori prcorntatur." 

It appears to be an original and early impression from the block now in tin- 
possession of Earl Spencer, and from which block the example next to be de- 
scribed is a modern impression. 

The block could have been but very little worked from when this impression 
was taken, as not any effects of fractures, worm holes, nor imperfections'are appa- 
rent, and which may be easily observed in the modern production. 

The paper is old, and has the bunch of grapes for watermark, but from its tex- 
ture we should assume this version of the "Apocalypse" to have bteu on; of it* 
later editions. 

D. 10. 
APOCALYPSIS SANCTI JOHANNIS. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

impression of the two designs on an original wood block engraved for 
an edition of the Block Book usually termed the " Apocalypse." The 
wood block is now in the collection of Earl Spencer. It was formerly 
tin- property of Mr. Joseph Ames; afterwards belonged to Sir Peter 
Thompson, knight, from whom it descended to Major Thompson, his nephew, who 

:itel it to Mr. A-tL- in 1799. 

The upper de.-i^n ivpre-eiiM St. John taken U fore the Prefer! ; the lower 
design shows the Evangelist being .sent to Domitian, and it uppan.n.1. hum the 




184 WOODCUTS. 

same block as the impression before noticed D. 9. Impressions from this original 
block may be found also in the " Bibliotheca Spenceriana," voL i. p. 8, and in 
Sotheby's " Principia Typographies," vol. ii. p. 50 b. 

Mr. Sotheby remarks concerning this block 

" At first sight it would appear to have been one of the series used for the 
fourth edition of the work, but a minute comparison of the impression with the 
corresponding one in the fourth edition, proves it not to have formed a portion of 
that series of blocks. In the impression of the page taken from the original block 
there is a blank space between the upper and lower subjects, while in the fourth 
edition a single line separates the designs. Again, the features of the various 
figures in the latter are more delicately engraved. We must therefore come to 
the conclusion that this original block belonged to a series of blocks of an edition 
which as yet is undescribed." (Op. cit. vol. i. p. 5.) 

" The block was one of a series not described by Heinecken, nor by any biblio- 
grapher. The block bears evidence in the many breakages of having been much 
used .... The formation of the letters in the inscriptions, though a little thinner, 
is very much the same (as in the 4th edition ), and its character is very like to that 
in the inscriptions of plate Ixviii. [D 5] from an unknown edition of the BiMia 
Pauperum, of particularly coarse design, and of evidently late execution." (Op. 
cit. p. 50 a.) 

The original wood block was exhibited at the "Caxton Celebration Exhibition" 
at London, 1877. 



D. ii. 
"DER ENDCRISTE." 

(Print Room Library, German Works, 142.) 
FIRST DECADE OF THE SIXTEENTH CENTURY. 
GERMANY. 

COPY of the first typographic edition of the Block Book known as the 

" Entkrist " J and " Quindecim Signa." 

In the Middle Ages the doctrine was established that a particular 
_ person would appear, and under pretence of being the Christ foretold 

by the Prophet* would mislead many devout persons, endeavour to destroy tin- 
work of the true Messiah, and establish the Devil as prince of this world. This 
Antichrist was himself to be a child of the Devil, and to work wonders through 
his infernal power. The history of Antichrist was early delineated in manuscripts, 
xylographs, and typographic works. The details of the legend therein recorded 
appear to follow generally the "Tractatus de Antichristo quomodo nasci debcat" 
of Albinus, written in the eleventh century, and the "Compendium Tlirolp-in- 
Veritatis " of Hugo von Strassburg or Hugo Argentinensis (Falkenstein, p. 27) of 
the thirteenth century.? 

1 i.e. '"Avn^piWoc," "Quis est mendax nisi is qui negat Jesus e.-t Cliri-tu>? 
Hie- cvt Antii-liristus qui negnt Patrem et Filium." (Johan : Kpist. i. cap. ii. v. 2.) 
For the. various forms under which the term " Anticliri>tn " appeared in tin- Inter 
Middle Ages, see Wei^el nnd Zestennann, vol. ii. p. i |. 

8 See Heinecken. 'I < .I.-, n. .' p. 386; also Dildin, " Bil.l. Sj.cn- 

ceriana," vol. i. p. xxxi. 




DER ENTKRIST. 185 

The works on Antichrist treat of his birth, life, and doings, of his final de- 
struction by Christ and the Archangel Michael, and of the descent of him to Hell. 
This history is generally followed by an account of the "QuindecimBignaextremi 
Judicii diem praecedentia." 

The present version is considered to be the first typographic edition of the 
" Antichrist, &c." It is without name of printer, place, and year of production, 
but probably had its source either at Nurnberg, Ulm, or Augsburg, at the com- 
mencement of the sixteenth century. The work consists of twenty small folio leaves 
printed on both sides of the paper. The recto of the first leaf is occupied by type 
only, which commences with a large floriated capital II. On the verso of folio i. 
is a single large woodcut with three lines of printed text above. From folios 2 
to 1 1 inclusive, each leaf has two designs, both on the recto and verso. Folios 1 2 
and 13 have single large cuts on rectos and versos. Folio 14 has half the recto 
occupied by text and half by a single cut, the verso by text only. Folios 1 5 to 
1 7 inclusive have each two cuts on the rectos and versos, while folio 1 8 has two 
cuts on the recto and one large cut on the verso. On the recto of folio 1 9 is a single 
1 ii -.. e cut, and text simply on the verso ; this is also the case with folio 2O ; on these 
pages the only designs are the ornamental initial letters. Above each of the cute 
(with the exception of folio 18, verso), whether large or small, there are from two 
to five lines of typographic German text in lower case Gothic characters descriptive 
of the adjacent illustrations. 

The "Life of Antichrist " finishes on the recto of leaf 14, and then follows 
an account of the " Quindecim Signa." The prooemium on the recto of leaf L 
0'iiM-i- of 32 lines, commencing, "Hye hebt sich an von dem Endcriste genomen 
und getzogen ussz vil biichern der heilige geschrifft," and concludes with " Das 
geschycht dann von gottes usserwelten wegen." The initial H occupies part of 
cJL'ht linos of type, and its arabesque ornament runs across the breadth of the 
page. 

On the verso of leaf i. is a large cut representing the father of Antichrist making 
love to his own daughter. Above the seated couple a demon looks forth from a 
small arch, as if presiding over the iniquity. Above the cut is the description : 
" Hye sytzet des Endcrist vatter und wirbt umb syn lyplich tochter in uppigkeit. 
die im der werck verwylliget Und empfachet von irem eygen vatter den anthycrist." 

On the next page are two illustrations. The upper cut represents Jacob 
foretelling his children what will happen in the future. Above are five lines 
of ii-xt. beginning, "Jacob sagt seinem sun Dan was im kiiniftig wu'rt, etc." 

The lower cut exhibits the unnatural father in coitu with his daughter, from 
which follows the conception of Antichrist. Four evil spirits are present at the 
enormity. Above, the descriptive text begins, "hye wurtder anthicrist cmpfTangen 
wider das gebot siipschafTt durch rat des tiifelg, etc." 

Tin- upper cut on the verso of leaf 2 represents the birth of Antichrist, who is 
brought into the world by the Caesarian operation. Under the effects of the latter 
tlir mother appears to be dying, as an evil spirit is receiving her soul from her 
mouth. Two other demons are in attendance. 

The text above informs us that, " Der anthicrist wiirt geporn in einer stat 
genant grossc babilonia und er wiirt aller untuged und boseheit vole, etc." In the 
lower cut Antichrist is being circumcised. A demon attends the ceremony. 
Aeeording to the text, "Der anthicrist lat sich beschnyden in Jherusalem." 

On the recto of folio 3 Antichrist is seen leading a sensual life. He is in 
loving cnn\erse witli a young female, while an attendant is approaching with a cup 
of \\ine. An evil spirit rests on the housetop adjacent. In the lower cut the 
Jews are rebuilding the Temple of Solomon at Jerusalem. Antichrist is not 
;it here, nut :mv demon N i.. ! M'l-n, nor is am direi-t reference made to 
Antichri-t in the text. On the rrrxo in the upper cut Antichrist may be Men 
le;irnin^ from an adept how to make L'old. and perform :ure". 

with which he deceives the children of men. An evil spirit is l>y the furnace, which 



186 WOODCUTS. 

the adept is blowing with bellows. This, according to the text, takes place in 
the city of "Corrosaym." In the lower cut Antichrist is going from "kavarnavni." 
where he has awoke the dead through the assistance of the evil spirit. We are 
informed by the text above that " cristus ffiiichte der stat im ewangely do er 
sprah . wee dyr kapharnaym." 

On the recto of leaf 4, the upper cut represents Enoch and Elias, who 
have come from Paradise to preach for three years against Antichrist The 
latter is not to be seen, nor is any demon. In the lower cut " helyas " preaches 
'dor heyligen krystenheit" against Antichrist, who, attended by a companion, looks 
on, while a demon hovers above. On the verso in the upper cut is the prophet 
Enoch, following the example of Elias. Antichrist, attended by his demon, looks on. 
In the lower illustration Antichrist is burning the books of the Law, which he does 
when he stays in the places where Christ resided. Antichrist is throwing the 
books on a fire, while an evil spirit helps their destruction with a pitchfork. 

On leaf 5 above, Antichrist himself is in the pulpit preaching a new doctrine 
and a new Law. Behind him in the pulpit stands an evil spirit. According to the 
text, " das ist die erste lere domit er die welt betrtigt/ mytt glitter rede dye er 
kan." Below, Antichrist is deceiving the world by working wonders, lie 
raises the wind and the sea, and calms them again. The evil spirit, who is 
assisting him in his work, is seen beneath the rising ocean. In the upper cut on 
the verso Antichrist bids the withered tree blossom, and to become again dry. 
The attendant demon sits beneath the tree. Below other wonders are being per- 
formed. A giant is bidden to rise from out an egg, a castle is suspended by a 
thread, and a stag is made to spring from a stone. A great winged demon pre- 
sides over these performances. 

On the recto of leaf 6 Antichrist is represented in the upper cut having the 
Jews marked on the foreheads and right hands, as indicating that they believe in 
him. Two evil spirits are here in attendance. Below, Antichrist sends forth 
his disciples to preach and inform the whole world that he is the true God and 
Messiah, who was to come on the earth. These disciples are receiving documents 
from Antichrist, by the side of whom stands his demon. On the verso in the 
upper cut a disciple of Antichrist is preaching before the King of Egypt and his 
people, while in the cut below, another disciple addresses the King of Lybia and 
his subjects. 

On leaf 7 a third disciple is preaching to the King of Ethiopia, and a fourth 
to the Queen of the Amazons. On the verso of this leaf a disciple preaches to 
the Christian world the arrival of the true God and Messiah on the earth. Below 
may be seen the kings of the earth, who have been brought to believe in Anti- 
christ, approaching him as a troop on horseback to do him homage. Here Anti- 
christ is seated on a throne, and is attended by three evil spirits. 

On the recto of folio 8 the kings of Egypt and of Ethiopia, with troops of 
people, do homage to Antichrist. In the lower cut Antichrist bestows gold and 
silver on those who believe in him. Two demons are here in attendance, one 
holding a basket, from which Antichrist takes the money, the other having a 
filled basket on his back. In the upper illustration on the veryo AntirhriM is 
seen performing magical tricks, "und heiset ein siil red und antwurt gebt'ii um 
alles das man sy fraget." Antichrist points to a column, around which clings an 
evil spirit. 

Below the kings of Egypt and of Ethiopia arc marked on their foreheads 
and right hands as believers in Antichrist. The latter is here seated, having 
by his side an evil spirit with the head of a gigantic cock. 

In tin- upper illustration of the next leaf 9 recto Antichrist raises from the 
tomb the father and mother of the King of Lybia, who will not otherwise believe 
in him. A demon assists at the revivification, helping tin- parents to rise from 
their grave. In the lower cut the now believing Lybian king is being marked 
appropriately on the forehead and right hand. On the verso the upper design 



DEE ENTKRIST. 187 

shows the disciples of Antichrist bringing various kinds of persons to do homage 
to their master. Among them a bishop is prominent. In the cut below, those 
who will not believe in Antichrist are brought as prisoners before him. They 
are tied together and led by a soldier in armour, with bow and arrows and 
shield. 

In the upper design on the recto of folio 10, the unbelievers in Antichrist are 
being tortured for their obstinacy. Antichrist, prompted by an evil spirit, stands 
by giving directions. In the cut below, the people are hiding through fear, but 
hunger compels them to come out of their hiding-places. On the verso in the 
upper cut Antichrist sits on a low throne with sceptre in his left hand and stool 
at his feet, attended by a strange-looking demon behind. People come to pay 
him homage, and kneel before him ; " lie exalts himself above all gods." In 
the cut below, Antichrist is ordering the prophets "helyam und enoch" to be put 
to death at Jerusalem. An executioner is about to decapitate one of the prophets 
as he lies prostrate on the ground. A circular nimbus is over the head of each 
prophet. A demon seems to hide behind Antichrist. 

On the recto of leaf 1 1 , the upper design represents the prophets kneeling 
before an angel, who has brought them to life again. In the lower cut Antichrist 
has fallen down as if dead, and sleeps through magic. By his side lies an evil 
spirit also as if dead. People stand by and lament over their Lord. In the up- 
per cut on the verso Antichrist is emerging alive from the tomb on the third day 
of his death. He is declaring to those before him, " Seeht das ich geworer got 
uii<l mensche byn." An evil spirit behind him smiles approvingly at this cul- 
mination of his work. 

In the lower illustration Antichrist is represented imitating the Pentecostal 
Miracle. A winged demon casts down flames of fire on the heads of the disciples. 

On the recto of folio 1 2 is one large illustration, and three lines of text above 
it. Antichrist stands at the foot of a hill near Jerusalem, and bids the people 
go to the Mount of Olivet to see him ascend to heaven. On the verso is a single 
large cut and four lines of text above it. Here Antichrist having ordered the 
devils to carry him up above, God strikes him back and exclaims, " As in the 
gloss on the Apocalypse in the thirteenth chapter Michael, strike him dead. I 
will not bear any longer this wickedness." Antichrist appears as if being pulled 
back into the jaws of hell. 

On leaf 13 is one large design and two lines only of text above it. Here 
Antichrist has descended on a mount in hell, where he is received by demons 
and his believers. Above is seen our Lord in the clouds attended by angels. 
A cruciform nimbus encircles His head ; He holds the imperial orb in His left 
hand and raises the other hand, while His expression is that of sorrow rather than 
of anger towards the arch-deceiver. On the verso is one large cut and four lines 
of dc-criptive text. Here may be seen the followers of Antichrist leading an up- 
roarious life after the death of their master. A banquet -is going on, attended by 
loving scenes between the male and female guests. A dog, seated on a stool in 
._!-.. iiii-1 t<> tin- right, looks up and howls at the infamy. 

On the recto of leaf 14 is one smaller illustration and sixteen lines of text 
above it. Klin* and Knoch are preaching (both out of the same pulpit) the 
doctrines of Chri-titinity in the countries where Antichrist had dwelt, so that 
" Krit unus pastor et iiniini ovile." Then is to come the Day of .Judgment, 
against which not any one is safe. On the verso of this leaf (14) are thirty-three 
li.ie- of text, with a hu-L'e ornamental initial N. This text is a preface to the 
fifteen .-L'lis whieh -hall happen before the Day of .Judgment," and which signs 
are repiv-cnted in the siilise<|iieiit twehe pay then, may be suid to begin 

the "Quiiidecim -L'na extrciui .ludicii diem praicedentia." 



The !ir-t of the fifteen -!'_'"- is -ho\Mi in the upper cut of the n, tit of lea/ (5. 
The jit -a is ri-hii: up forty ell.- higher than all mountains, and rcuiuiun 



188 WOODCUTS. 

like a wall. Two men are gazing in astonishment at the uprisen sea. In the 
lower cut the second sign is represented. Here the sea is sinking down so deep 
that it is not any longer visible, the earth becoming dry and withered. Two men 
stand at the edge of the sea-shore conversing about the catastrophe. The third 
sign is on the upper cut of the verso. The inhabitants of the deep cry out towards 
Heaven, but God alone is aware of it. Here may be seen mermaids and mermen, 
with other sea monsters, looking up towards Heaven. Below is the fourth sign. 
The sea and all the waters, great and small, " mit dem feiir verbriinnent." 

On the recto of folio 16 are the fifth and sixth signs. In the upper illustration 
the birds congregate together in the fields, and neither eat or drink, as they fear 
the coming of the upright Judge. In this sign the trees and plants sweat blood, 
but they are not here represented. Three persons are present with a remarkable 
group of birds. Below, as the sixth sign, an earthquake has thrown prostrate men 
and beasts. On the verso, in the upper cut, is the seventh sign, in which trees 
and buildings fall down, and fire descends from Heaven. Below, as the eighth 
sign, stones fly up in the air, and striking against each other break in pieces. 
Animals are running away in fright, and men are hiding themselves in caves. 

On upper cut of leaf 1 7 is represented the ninth sign. Here the people return 
from their hiding-places, but are utterly unstrung, and wild beasts become tame, 
and approach them. In the cut are three men, one of whom is stroking the head 
of a lion. A bear and two stags have joined the group. Below is the tenth sign. 
Here the graves are opening, and the dead arising. Near a church are three 
tombs, from which skeletons come forth. Two persons turn away in amazement. 
The upper cut on the verso exhibits the eleventh sign. The stars are falling 
from Heaven, at which four persons raise their hands in wonder and fear. Below 
is the twelfth sign. All living men die that they may rise again with the other 
dead. The ground is covered with dead men and animals. 

On the recto of leaf 18 is the thirteenth sign in the upper cut. The heavens 
and earth are burning. The design consists of little more than flames of fire and 
clouds. Below appears the fourteenth sign. The whole earth, mountains, and 
hills are reduced to one level. 

The fifteenth and last sign is on the rerso of this leaf. Here the whole earth 
and its inhabitants arise anew, as the angels from Heaven sound their trumpets in 
preparation for the Judgment. On this page the descriptive text (of three line* 
only) is placed below the illustration. In the latter may be seen men and women 
rising from their tombs, and two angels above kneeling on clouds and blowing 
straight horns. 

On the recto of leaf 19 is a single cut occupying the entire page. Above 
sits Christ on a rainbow, with a globe beneath His feet. A cruciform nimbus 
oncirrk-s His head, from the right side of which runs out a lily stem, and from the 
left a naked sword. Our Lord extends both arms, and is assumed to be exclaim- 
ing, M Venite" to the blessed in judgment below, and "Ite " to those weighed in 
the balance and found wanting. The former are about to depart, led by a Holy 
man (St. Peter ?), while the latter are being drawn by a chain into the mouth of 
hell. Above these two groups kneel the Blessed Virgin and St. John the BaptNt 
looking up with clasped hands towards Christ. Between the Virgin and the 
Baptist is an angel bearing instruments of the Passion. On tin- U-tt (to the 
spectator) above the head of the Virgin is the word " Venite " in rather large 
ornamental characters, on the other side and above St. John is the word " Ite." 
On the verso of this leaf (19) and on part of the recto of 2O is a description of 
what will ensue on the last day. There arc twenty-nine lines of text on folio 19 
(rerso) and fourteen of description on the upper part of folio 2O. An ornamrntal 
initial L occupying the space of seven lines of text, begins the description. Tin- 
lower half of the recto of folio 2O is occupied by a prayer to Jesus Chri.-t. Tlii- 
pravcr is roiitiiiiH-il on tin- rerun, and concludes with the words, " 00 CCfjrp k 
i-Bt0cretf mri Dcuo ot crfaarm Duf> iiber micfc. 9men." 



DEE ENTER1ST. 189 

Tn this edition, the designs illustrating both the History of Antichrist, and of the 
" fifteen signs are but of mediocre character, though some of the heads are not 
without expression. The figure of the unholy and unnatural father on the verto 
of leaf l is unquestionably good, and the downward look of the wicked daughter 
is not without meaning. The lower cut on the recto of leaf 2, and a group on the 
r/-r.</> of 1 3, have meanings of too palpable a character. The present copy has 
been strongly and heavily coloured after the Ulm and Augsburg manners, or per- 
h:ip- the style of Niirnberg. Deep madders and verdigris play an important part 
in the colouring. 

On folio 1 6 may be perceived a rather small Gothic IP as watermark. 

The present copy was formerly deficient of folio 7. The latter lias been sap- 
plied by a facsimile from the hands of Mr. Andrew Reid, done from a copy in the 
General Library of the British Museum (c. 25, 1. 17 and case). The latter copy 
has been coloured after a different system to the present one, and generally less 
heavily and not so detrimentally to the cuts. 

A Gothic IP as watermark is present on folio 1 6 in the Library example. 

A copy of the edition D. 1 1 was formerly in the collection of T. O. Weigel, 
who remarks concerning it 

" The contents of the text coincide on the whole with the contents of the 
MS. in our possession, as also with that of the xylographic edition, but the compo- 
sition and dialect of the text are so independent and special, as to constitute this 
an independent edition. The illustrations are new and rather coarse compositions, 
in the colouring of which (the School of Niirnberg being indicated) cinnabar, 
cherry red, verdigris, mineral-blue, camboge, and brown have been employed. 
The type has much similitude to that facsimiled in Braun, ' Notitia,' vol. i. tab. v. 
No. vii., which, erroneously we think, has been attributed to Christopher Valdarfer. 
The watermark is a small IP." (" Die Anfange der Druckerkunst, etc.," vol. ii. 
p. 126, n. 265.) 

The following authorities are specially noticed by Weigel and Falkenstein as 
bearing on the legendary history of Antichrist. " Wilhehn Grimm in der Einleitung 
zu Freidanks Bescheidenheit," S. Ixxi. and Corrodi, " Geschicte des Chiliasmus," 
2 Th. S. 400-444. 

\Vei'_M>l (op. cit.) himself may be consulted generally on this subject with 
advantage, as also the article " Antichrist " in Smith's " Dictionary of the Bible," 
London, 1863. 

The Print Department contains an edition of the work (Gorman Books, 136) 
known as the " Selen Wurtzgarten." In this edition is a history of Antichrist, 
ami of the " fifteen signs," accompanied by twelve woodcut illustrations. The 
decorative title on the recto of A i of this work is as follows 

" Das Buch der Selen wurt/garte genant des ist gar kurt/weilig zelesen 
gri-tlichen un<l weltlichen menschen mit seinen Figuren und Excmpeln." 

iJelnw is a cut, representing Adam and Eve eating the forbidden fruit, and 
their expulsion from Paradise. 

On tlii- n-rxo of folio xci. (q i) is "Hie endet sichdiss Buch. undvolgt hamorb 
_'i-ter. Lob sey Gott dein hcrren." 

The register ends on the verso of q v and is followed by the colophon 

( ietrnckt und volendet in der Fryen Statt Strassburg, durch Matheis HupfufT. 
11 tr Donerstag vor Sat Matheis tag. In de jar nach der Geburt Unners herren. 
M.I). MI xi." 

The work is divided into four parts; "Der Fierdt toil dias buchs hat .\\ltf 
Capitel un sagt gar lioblich ding von dein Kmlrrit un vo deni jungsten <:ericlit." 

Tin- first chapter of tin's t'ourth liot.k discourses concerning tin- time when 
Antichrist -\\.\\\ appear, of Jacob's prophec\ miici riling him. ami the where and 
when of hi> liirth. It is preceded by :i cut (\vith an ornamental border) rcprenent- 
iiiL' the father of Antichrist making love to his own daughter, which is based gene- 



igo WOODCUTS. 

rally on the design present in the first typographic edition. Some of the details 
of the present cut are better than those of the other edition, but the principal 
figures are much inferior. On the recto of O 2 is a cut representing the birth of 
Antichrist, and is based on the analogous cut in the first typographic edition, but is 
in reverse, and with another cut of a single figure by the side of it. The second 
chapter begins on the verso of O 2, and is headed by a cut representing the circum- 
cision of Antichrist at Jerusalem. This cut appears to be from the same bloek as 
is the cut in the first typographic edition. On the recto of O 3 is a large cut 
introducing chapter 3, which begins on the verso of the same leaf. The illus- 
tration represents the kings and people of the earth coining to do homage to 
Antichrist, who stands before them attended by an evil spirit. This cut is different 
to any in the other edition. It has on each side separate narrow arabesque 
borders. 

The fourth chapter begins on the verso of O 4, and relates to the preaching of 
Enoch and Elias, to the wonders done by them and by Antichrist, and to the death 
of the prophets. It is headed by a cut representing the latter preaching from tin- 
same pulpit, and is somewhat like the design on the recto of leaf 14 in the first 
typographic edition. It has an ornamental border cut on the outer side. At the 
upper part of leaf Lxxxiii. (O 5) is an impression from the same block as is on the 
recto of leaf 1 1 in the other edition. The fifth chapter commences on the verso of 
leaf Ixxxiii., and relates to the length of time Antichrist shall reign on earth. It is 
headed by a large cut, the design of which is based on that on the recto of leaf 1 3 
in the other edition. It represents the angels by the order of Christ driving away 
the false *prophct. The sixth chapter begins on leaf Ixxxiiii., and relates to the end 
of Antichrist's power. It is preceded by a cut, showing Antichrist ^descending 
into the jaws of hell, and follows the design in much of the cut on the verso of 
leaf 1 2 in the first typographic edition. 

At the lower part of the verso of leaf Ixxxiiii. is an illustration of Christ in Judg- 
ment, and is intended to introduce chapter 7. which begins on the next page 
(Ixxxv.). This chapter treats " Von dein erschrokenlichen gerichts tag gots iiber 
lebedig un todt ; wie der Endcrist sein leben endet," and, " In welcher weiss die 
funfftzeche zeiche koriien vor de jungste tag." 

The eighth chapter begins on leaf Ixxxvj. and relates to the fifteen signs in de- 
tail. It is headed by a cut illustrating the seventh sign as here recorded, but which 
is the eleventh sign in the first typographic edition. This illustration is not like 
that of the same sign in the latter edition. On the verso of leaf Ixxxvi. i> tin- 
ninth chapter, and relates to the Resurrection. Here the cut is placed laterally on 
the page, having a narrow column of text on the inner side of it. The dead are 
rising from their tombs at the sound of the angels 1 trumpets. On the opposite page 
the tenth chapter commences, referring to the Last Judgment. Here the design 
follows that of folio 19 in the first typographic version the person conduct- 
ing away the Blessed to Paradise is clearly St. Peter. Arabesque borders are by 
the sides of this cut. 

According to Weigel (op. cit. vol. ii. p. 1 26) a second typographic edition of 
the work on Antichrist was published by Hupfuff, at Strasburg, during the first 
decade of the sixteenth century, but without the actual date being ivn.nl. -.1. The 
remarks made by Weigel on this edition are very applicable to such illustrations 
as are given in the epitome in the fourth part of the " Seleu Wurt/i::ii-tcii." lie 
observes, " The great similarity of the cuts of HupfufF's edition with those of the 
first typographic version indicates that the draughtsman nm.-t linvt- had tlie latter 
In-fore him when designing his own illustrations. The tt'clmic is that of the 
Strassburg school, as it appears in the illustrations of the Horace of 1498, of tlie 
Terence. Boctius, and most of the works of Gayler von Keysersberg, printed by 
Griininger." 







QUINDECIH SIGNA. 191 

D. 12. 

"QUINDECIM SIGNA." 

.MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

SINGLE cut from the xylographic edition of the Block Book, known 
as the " Antichrist and the 1 5 Signs." 

This cut is from the second part of the work the " Quindecim 
signa extremi Judicii diem praecedentia." 

It forms the lower subject of leaf 2 of the perfect book, and relates to the 
second sign. 

" Des ander zaichen ist, Das sich das Her wider nider tut, als verr das es nie- 
mants gesehen mag. Und das ertrich wirt diirr." 

In the foreground of the composition is a rock, or cliff, on which (at the centre 
of the print) kneels a man directed towards the right, and pointing with the right 
hand over the edge of the cliff, towards the sea, which has receded. On the bank 
towards the left hand, stand two men in conversation. One turns towards his com- 
panion, whom he addresses with emphasis, as his hand indicates. The latter person 
gazes with curious astonishment towards the right in the direction of the invisible 
sea. In the background are slight eminences, on which rise the towers and 
churches of a town. Not a vestige of trees nor of herbage of any kind is to be seen 
all is barren and dry. 

The whole is in outline, but some of the markings are broader than the others, 
as if to imply shade. The shoes of the figures are pointed and black. 

Tlu- descriptive xylographic text is in three lines contained in a border at the 
top, running transversely across the whole width of the print. 

Concerning the xylographic edition of the " Entkrist," Dibdin's " Bibliotheca 
Spem i-riana," vol. i. p. xxxi; Sotheby's " Principia Typographical' vol. ii. p. 38 ; 
and Heinecken, " Idee Generate, etc.," p. 384, may be consulted. 

[6| x 5f in.] [Uncoloured.] 

D. 13. 
DAT STERFBOECK. 

LAST DECADE OF THE FIFTEENTH CENTURY. 
NETHERLANDS. 

'UK first cut in the Flemish work described by Weigel (op. cit vol. ii. 

P. 06, n. 251), as "Dat Sterfboeck." Printed by Peter Van Os at 

Xwolle in 1491. 

The text of this work is based on the first edition of the Block 
Hook known a< tin- " Ar- M--rifiidi." The cut here prc-ent i- the firM illustration 
of t!u- original xylograph, which repri'-ciit- tin- " Temptatin .lial.oli fide." A sick 
man Ii,- naked in a lu-d, which run- olili<|iielv across the de-ign. In mi right to left. 
The man's ri-ht arm is ont-ide th<- IM d-dothe*. At the head of the bed stand 
Cod tin- Father. Thrift, and the I iicMCfi Virgin. Circular nimhi are ali,.\t- their 
h-ail-. the niinhi of the Kather and the S.-n havin- 'iii.-iforin radiant discs, the 
niml.us of the Virgin I.ein- plain. '1'he rather hold* a book in Hi- left hand. At 
the f'.otof the bed, l'i;t >oine\\ hat bi-liind, Stands a column, on;li.' capital of whicli 




192 



WOODCUTS. 



is placed an idol, with crown on head and spear in hand. Before the idol kneel a 
king and a queen. Behind the king, and on the distant side of the bed, stand three 
physicians conversing. Above them an evil spirit floats in the air and pointsdownwards 
and towards the idol with the index finger of the right hand. By his side is a scroll on 
which are the words, " De helle is te broken." To the right of the scroll, and be- 
tween it and the Virgin is another demon, who pulls away the bed-clothes from 
under the dying man. Below this demon stands a third, who appears to be exciting 
the man to follow the advice engraved on a scroll which proceeds from the demon's 
right hand, viz. "Doet als de heide." At the near side of the bed, and by its head, 
i a fourth evil spirit, who touches the shoulder of the dying man with his ri-_ r lit 
hand, while from his left runs a scroll having on it " Doet yft scluen." In the fore- 
ground below stand a man and woman. The man appears as if about to cut his throat 
with a knife which he holds in the left hand. The woman is nearly naked, and 
holds a scourge in the left hand and a rod in the right. Below the limitary line of 
the engraving is the signature a iii. 

On the verso of the cut are two columns of thirty-six lines each of typographic 
text in the Flemish language. The text begins with three lines of preface, viz. 

" Dit is die temptacie en die becosinghe des duuels daer liij die siecke mesce 
iiu-ilc becoert teghen dat ghelue." 

Then comes a large initial letter. 

According to Weigel, who possessed a slightly imperfect copy of " Dat Sterf- 
boeck " 

" The illustrations of it are, on the whole, very true and successful copies of 
those of the first edition of the xylographic Ars Moriendi. The technic, it is ad- 
mitted, is much less artistic, and these cuts appear coarser than those of the latter 
work, but they stand next (with the exception of the cuts of the typographic edi- 
tion described under No. 240) to the cuts of the first xylographic edition, and 
must have been suggested by this edition or by some copy of it." 

In the General Library of the Museum is a copy [c. 1 7 b.] of " Dat Sterf- 
boeck," printed at Delft in Holland in 1488. On the title-page, above a cut repre- 
senting Death rising with his dart from a tomb, are the words in two lines 

drcn notabel bor eft ohc 
noeint Dat ctccf faoccft 



and in rather large well-formed Gothic characters, 
thus 



The colophon terminates 



it iaer 50 fjerf 



3t0 morittie Data Die c60te toa atertoe toolepnDt te Delf I 

ift'CCCC'Irrrtjiij : 

On the verso of the last leaf is a printer's large mark, viz. a winged unicorn 
below a Gothic canopy supporting a plain shield before him and having a smaller 
>liidd, party per pale, above his head. Above this mark are the words Dflf in 
Ijollant in large lower case Gothic characters. This mark has been allotted to 
Christian Snellaert and to Henri Eckert de Homberch. On this point reference 
.slmuld be made to Holtrop's "Monuments Typographiques, etc.," p. 85, pL 106, 
and to Berjeau's " Bookworm," vol. iii. pp. 1 5, 1 68, vol. v. p. 4. 

Numerous woodcut illustrations, "De Arte Moriendi,' are present in this 
volume. 

The Print Room collection of books contains a thin typographic volume of 
twenty leaves and eleven full page illustrations, entitled 

" Cractawo farcfcio ac tmlDe unite De artc et ccicmta bent moricnDi." 
This title is continued on the last page, at the foot of which is the line 

" ium orationibtio pulcljcrrimifl DiccnDi0 circa agomjantcm." 
Above thia line is a fine ornamental woodcut, having the words " Ars Mori- 



DAT STEBFBOECK 193 

endi," engraved in large decorative white letters relieved from a black ground 
spotted with small flowers and stars. 

On each of the cuts in this tract are the letters 3( SD 

Concerning the name, time, and residence of this master 31 3D not anything 
appeare to be known. Some details connected with this mark, however, may be 
found in Nagler's " Monogrammisten," vol. iii. p. 872, n. 21 7 1. 

Of the first xylographic edition, the editio princeps of the " Ara Moriendi," 
there is as yet but one perfect copy known. This was formerly in the cabinet of 
T. O. Weigel, of Leipzig, and was purchased at the sale of his collection in 1872, 
by the trustees of the British Museum, at a price of rather more than 1 ,000. 
The Print Department possesses a photographic copy of the original work, which 
copy Weigel himself considered as thoroughly successful in its result. 

" The original work," remarks Weigel, in the preface to this copy, " consists 
of twelve small folio sheets (here reproduced in twenty-four photographic pages), the 
strong paper of which has for watermarks, 1 a bull's head, with stalk and cross and 
an anchor. The sheets of the original work have been printed with the rubber, 
and brownish ink here and there paler in colour, on one side only. They have not 
any signatures, but at their middle, where the sheets should be folded, there is a 
perpendicular black line, from which it is evident that the two opposed sides were 
prepared on one and the same block. The text is in the so-called monkish cha- 
racter, and, in general, has been very well cut. A critical account and estimate of 
the unique original may be found in Weigel and Zestermann's ' Anf ange der Druc- 
kerkunst in Bild und Schrift, etc.,' Bd. ii. S. 6. 

" Relative to the source of this masterpiece of xylography, its conception and 
execution point unmistakably to Cologne as its place of origin. The school of 
Cologne preserved, it is true, its original character down to the second quarter of 
the fifteenth century, but from this time the influence of Flemish art, particularly 
as proceeding from Roger Van der Weyden, made itself felt, and the residence of 
Petrus Christus at Cologne (1438) gave rise especially to that form of Cologne 
art work in which the work was united with the art of Flanders. Of this union the 
well preserved example of the ' Ars Moriendi ' in my collection appears to be a 
witness. The place of its discovery was also at Cologne, where it was obtained 
from a private source." 

On the unique copy of this first xylographic edition of the " Ars Moriendi," 
Passavant, vol. i. p. 1 1 6, should be consulted. 

[8 X 5j-in.] [Uncoloured.] 

D. 14. 
SPECULUM HUMANE SALVATIONIS. 

(ORIGINAL, THE FIFTEENTH CENTURY P). 
NETHERLANDS. 

COMPARATIVELY modem xylographic copy of the first page of an 
undescribed edition of the " Speculum Humanac Salvationis " in the 
Dutch language. 

A facsimile copy of a like page is given by Sotheby in the second 
volume of the " Principia," plate Ixxviii., and the following remarks accom- 
pany it, p. 83 

" Among our collections illustrating the various editions of the Block Books, 
we have mi impression of a uww/-engraving of the first page of an edition in 
[*/c] of the Speculum of which the present plate is an accurate facsimile. 

O 




'94 



WOODCUTS. 



" The engraving appears to be a facsimile of an edition with which we are totally 
unacquainted, nor can we find any account of a corresponding edition mentioned 
by any bibliographer. It is evidently coarsely copied from one of the four earliest 
editions; but of the original from which the text in German [c] under the 
design has been taken, we are unable to attain any information. It appears to 
have been executed by the same hand as copied plate Ixviii. [D. 5]. from the 
'Biblia Pauperum,' and is evidently intended for the illustration of the same 
work." 

The paper of the present copy has the letters " J. T." for a watermark. 

[From type to type, 1 1 ^ in. in length.] [Uncoloured.] 

[Breadth (cuts), 7 Jin.] 

The following five copies of rare incunabula, together with the "Figured 
Alphabet," seem to the writer to occupy with more propriety the position here 
assigned them than any other in which they might be placed. 




D. 15. 

MEDITATIONES JOHANNIS DE TURRE- 
CREMATA. 

(ORIGINAL, 1467.) 
ROME. 

FACSIMILE of the cut on the verso of folio i. in the first and third 
editions of the " Meditations of Turrecremata." 

The cut represents the " Creation," and is placed immediately 
above the following title 

" fHeTJitatCnee Krtjernrigfltmi patno DRi Tobanmotoe tumcrrmata ftacro 0fl 
Eomane rccl'ie ttaitiinalie pooite ? Depute He ipaius matiato to eccl'ie ambitu ace marie 
Be jfBineroa Rome." 

The copy before us has below it the general title only of the work, with its 
date and place of production. 

For details in connection with this very rare and illustrated early book, see 
the " Bibliotheca Spenceriana," vol. iv. p. 35 ; " ^Edcs Althorpiauae," vol. ii. 
p. 273, n. 1277. 

[4 \ X 6 in. (cut only).] [Uncoloured.] 

D. 16. 
SAINT CHRISTOPHER. 

(ORIGINAL, 1423.) 
GERMANY. 

(Martyr. -J- 254.) 

the middle of the composition is a shallow stream, through which 
wades St. Christopher, directed towards our ri^lit. !! u|. ports 
himself with both hands, grasping a palm stem, and looks round towards 
hi* right shoulder, mi \\liidi rests the youthful ChrNt. A IM.P 
circular nimbus is over the Saint's head, and a thick beard depends from his i-liin. 




SA1XT CHRISTOPHER. 195 

I ! is clad in a loose tunic and mantle, the former being drawn up above the 
knees, the latter having one-half floating to the left in the air. The youthful 
Christ has a large cruciform nimbus around His head, bears an orb surmounted by 
a cross in the left hand, and raises the right hand as in the act of benediction. A 
loose tunic confined at the neck covers the body; the right knee and buttock rest 
on the Saint's right shoulder, while the left leg runs down St. Christopher's left 
shoulder. On the right bank of the stream kneels a hermit, looking and hoMing 
a lanthorn towards St. Christopher. Behind the hermit is a small chapel with 
belfry, and behind this building rises a tree on the summit of the bank. Below 
the hermit is a plant in flower, and a rabbit emerging from its hole. On the 
opposite bank, at the lower part or foreground, are an overshot mill and stream, 
towards which a man drives a horse with a sack on its back. Above runs a 
tortuous pathway, along which ascends a man with a sack on his back towards a 
thatched house near the summit, on which is a tree. Other trees and plants may 
be observed here and there upon the bank. 

The water of the stream through which St. Christopher wends his way curls 
around the Saint's legs. Between the right leg of the Saint and the root of the 
palm stem is a fish in the water. 

Below the design are two lines of inscription, viz. 

" Cristofori far it -m die quacunquae tueris, 
Ilia nempe die morte mala non morieris." 
(Millcsimo cccc.xx". tercio.) 

these are contained within a border ths of an inch wide. The whole is enclosed 
within a single black border line. 

This print is a facsimile copy of the " Buxheim St. Christopher " of the year 
1423, in the collection of Earl Spencer. For a lull account of this interesting 
relic, 1 the author's "Introduction to the Study, &c., of Ancient Prints" (vol. i. 
p. 152) may be consulted, the following extract from which may be permitted 
here 

" Not long after the account and facsimile of the Saint Christopher had appeared 
in Von Murr's 'Journal,' 1776, antiquarians were startled by hearing that another 
impression of the print had been found, which was eventually secured by the 
Bibliotheque Royale de Paris. Soon came the discovery of a copy at Basle, while 
another made its appearance in the cabinet of M. Birkenstock, of Vienna, and which 
still could be seen ( 1 860), according to Passavant, in the collection of Madame 
Brentano, at Frankfurt. Consternation followed particularly the Parisian an- 
nouncement ; and Dr. Dibdin, along with the Althorp Saint Christopher, made a 
journey to the French capital in 1 8 1 9, at the request of Lord Spencer, to investi- 
gate the matter. The subject was afterwards taken up by Delaborde and others, 
the result of the inquiries being the proof that all these so-called original and early 
impressions of the Buxheim engraving of 1423 were simply ' modern antiques,' 
manufactured out of the facsimile copy of the original, engraved by Roland in 
1776, for the illustration in Von Murr's 'Journal,' and by a specimen of which, 
after it had been duly toned down with an infusion of coffee, Murr himself had 
been deceived ! The Paris Saint Christopher was afterwards withdrawn from 
exposition, notwithstanding M. Crapelet's attempts at justification, though an 
account of it was still allowed to remain, without any reference to its true 
character, in the ' Description des Estampes exposuea, etc.,' published in 1855." 
(Op. cit. vol. i. p. 165.) 

Fuller details on this particular point may be found in M. Delaborde's memoir, 
"La plus ancicnne gravure du cabinet des Estampes de la BUMhi^M Royale 
cst-elle ancienne?" in " L'Artiste " (annee 1839); in tin- lir-t volume of 

1 i:\liihitf.l ulong with the " St. Brigitta " at the Caxton Celebration Exhibition 
in London, 1877. 




ig6 WOODCUTS. 

Passavant's M Peintre-Graveur," p. 27; in M. Renouvier's " Histoire tie la Gravure 
dans les Pays-bas, etc." (1860) ; and in Dibdin's "Bibliographical Tour," vol. ii. 
p. 143, note, and 2nd edition, vol. ii. pp. 56, 57. 

The present copy appears to be one of the pretended originals, formed out of 
Roland's illustration for the Journal of Von Murr. 

There is a name as watermark on the paper, but we are unable to decipher it. 

[llf X 8 in.] [Uncoloured.] 

D. 17. 



SAINT BRIGITTA OF SWEDEN. 

(ORIGINAL, FIRST QUARTER OF THE FIFTEENTH CENTURY.) 

GERMANY. 
(Foundress of the Order of Brigittines, Patron Saint. { 13 73-) 

FACSIMILE copy of a unique print in the possession of Karl 
Spencer. The original was exhibited, along with the St. Christopher, 
at the Caxton Exhibition in 1877. 

St. Bridget Bits at a desk, recording her " Revelations." She is 
clai in a nun's habit. The black portion of the head-dress which properly should 
be represented as a band over the forehead distinguishes the dress of the 
Brigittines from that of the Benedictines. A circular nimbus is over the Saint's 
head. Immediately above the desk is a small cross, having at the point of decus- 
sation of its limbs the representation of the Sacramental wafer. Above in the clouds 
appear the Blessed Virgin and her Son. On the opposite side is a shield, bcnriui: 
the letters S P Q R. Below is a pilgrim's staff* erect, bearing at its top a pilgrim's 
hat and wallet. 

Below, in the immediate foreground, near St. Bridget's feet, lies a crown, and, 
towards the right hand, a shield stands upright against the seat of the desk, having 
on it the arms of Sweden. 

At the top of the cut, and between the Virgin and shield, are the words 

" 3D brteita bit 
Cot fur uno," 

On the base of the desk, at the lower left corner, are some letters, the meaning 
of which is not apparent. Mr. Chatto thought they were "meant perhaps I'm- 
M i ' ii HI, and intended to denote the name of the Virgin and of Christ." 
(" Treatise on Wood Engraving," 1 839, p. 67.) 

A double lined border encloses the composition, which has been here coloured 
in imitation of the original. 

The original cut was first described by Mr. Ottley in his "History of Engrav- 
ing," vol. i. p. 86, where he records it as*" bearing every mark of hi.i:ii 
antiquity," and "as the production of an artist of tin- Low Countries uln-rc ;i 
better style of art prevailed in the fourteenth and fifteenth centuries than was 
common in those times in Germany, and of a date not later than the close of the 
fourteenth century, since after that period an arti>t ho was capable of designing 
so good a figure could scarcely have been so grossly ignorant of every eflert l 
linear perspective, as was evidently the case with the author of the performance 
before us." 

.Mr. Chatto remarks 

"Beside* the St. ChrUtoplivr ami tin- Annunciation, there is another old 



SAINT BRIGITTA. 197 

woodcut in the collection of Earl Spem-er which appears to belong to the same 
period, and which has in all probability been engraved by a German artist, as 
every person who can read the German inscription above the figure, ami who is 
not rendered insensible to the force of truth by his attachment to theory, would 
reasonably infer." (Op. cit. p. 65.) 

According to Passavant (vol. i. p. 35) 

' Ottley was in error, both in considering this print as very old and as belonging 
to the School of the Netherlands. To the opinion that it is very old are opposed 
the angular breaks of the folds of the drapery, against the notion that it proceeded 
from the Netherlands School appears the German dialect of the inscription .... 
it appears to belong to the last quarter of the fifteenth century." (Op. cit. vol. i. 
P- 35-) 

[7 x 4j- in.] [Coloured.] 

D. 1 8. 
CHRIST ON THE CROSS. 

(ORIGINAL, FIRST QUARTER OF THE FIFTEENTH CENTURY ?). 
LOWER GERMANY (?). 

FACSIMILE of a woodcut, preserved at the time this copy was taken 
in the library of the Arsenal at Paris. 

In the centre of the design is our Lord on the Cross. A large 
cruciform nimbus is around the head, above which, on the upright limb 
of tin' Cross, is a scroll, having on it the letters I. N. R. I. The head of Christ is 
slightly depressed and inclined over the right shoulder. He looks down on the 
Blessed Virgin by His side. A loin cloth is present, the feet are crossed, there is 
not any suppedaneum. On the right hand side of the Cross stands Mary with 
clasped hands, looking towards her Son. A circular nimbus is over her head, 
it is covered with a hood-like portion of the large and full mantle which she 
wears loosely girded round the waist. An unusual kind of ruffed collar encircles 
her neck. Behind the Virgin stands Longinus, who pierces the right side of the 
Saviour below the false ribs with the point of his knee. Longinus is dressed in 
turban, surcoat, and armour sheaves to the legs ; around his neck is a collar, on 
whi-h i< inscribed " Lvnginvs." On the other side of the Cross stands St. John 
with circular nimbus, long llowing huir, mantle and tunic. He looks towards the 
Cross, raises the fingers of the right hand as in benediction, and holds a large book 
with the left hand, which is covered by folds of the mantle. Between the nimbus of 
>t. .Inlin and the body of our Lord is a scroll, on which are the words " fflerf nliuo," 
the rest having been torn away. Behind St. John stands an armed attendant, of 
whom the lower portion only can be seen from the damage the print has sustained 
at the upper right hand corner. A long sword appears below a short bordered 
man tie, there is armour on the legs of this attendant, and he wean broad black 
rounded shoes. On the ground are some flowers and herbage. 

K \ery part of the design, with the exception of the sword and shoes of the 
attendant on the ri^'ht band, is in outline only. The folds of the drapery are 
rounded, not angular nicked as in the schools of the Van Eycks. The left arm of 
t hri-t and the left limb of the CM.-- have been torn away and restored with the 
pen. A double border line encloses the composition. 

Ai ompan\ ing this facsimile is a commentary on the original, by M.Paul 
Liu-mix. ,,f whieh the follow int.' i- a translation of a portion 

This print, which is incontestably contemporaneous with the St. Christopher, 




1 9 8 WOODCUTS. 

the most ancient engraving with a date, has not hitherto been described by icono- 
philists. It is fixed on the inside of the cover of a mystical poem in old German 
manuscript of the fifteenth century, on paper, in folio, bound in wooden boards, and 
preserved among the German MSS. of the Library of the Arsenal, at Paris." 

" The style of the drawing is correct and able, belonging to the art of A.. 1420 
to 1440. Such at least is the opinion of the learned iconographist M. Ah in. 
director of the Bibliothcque Royale of Brussels. The manuscript notes which 
cover the inner sides of the binding of the volume, and which are below the 
engraving, undoubtedly belong to the latter years of the 15th century." 

[8J- X 4f in.] [Uncoloured.] 



D. 19, 20, and 20.2. 

VARIOUS SAINTS IN THE CHURCH OF SAINT 
ULRICH, AUGSBURG. 

FIRST QUARTER OF THE SIXTEENTH CENTURY. 
GERMANY. 

SERIES of twenty-four Saints male and female from an old wood 
block in the possession of Earl Spencer. 

When Dr. Dibdin was at Augsburg, in the year 1 8 1 8, he visited 
_ the Public Library at that city. With Messrs. Beyschlag and May, 

the librarians, he made several exchanges and purchases of books, in his account 
of which ("Bibliographical Antiquarian Tour," vol. iii. p. 234) Dr. Dibdin 
writes 

" Just as I had concluded the hasty list of the foregoing articles, the worthy 
Rector Beyschlag called my attention to other but not less interesting objects. 
' What say you,' exclaimed he, ' to some ancient wood-blocks, such as they used to 
print with upwards of three centuries ago?' ' Show them to me,' replied I, ' and I 
will not only " say " something to them, but purchase one if they are vendible 
articles.' ' Come and choose," replied the Rector, ' here are three at your service.' 
I approached, saw, and instantly became a purchaser of one of them, which I con- 
ceived to be the most curious. Beyond all doubt, they were of the time mentioned 
by the Rector. Each block seemed to be made of pear tree, and each had a sub- 
^'ecf (which had evidently been printed from the black appearance of the whole) cut 
upon each side of it. This was quite new to me. The subjects were composed 
of figures, apparently popular Saints ; and the impressions, I make no doubt, had 
been sold as broadsides. The block which I purchased measures 1 7^ inches in 
length by 13^ in width. It is filled on either side by twelve figures of male and 
female Saints, heroes, and martyrs. In the centre of the four outer edges (which 
are about two inches in thickness) is a hole, as if bored by a gimlet, and which 
seems to imply that the block had been originally used in such a manner as to 
throw off* impressions from both sides at one and the same operation of the press. 
I was sufficiently pleased to purchase this curiosity for the sum of eight pounds of 
our money." ..." In the accompanying woodcut will be seen the four bnttmn 
figure*, in this very block which I purchased of the curators of the library in 
question. The block is now in the possession of Karl Spencer . . . I make no doubt 
that this wooden block was cut and printed for the cathedral ; designating by the 
twenty-four cuts the twenty-four chapels in the cathedral." 

On each print are twelve figures, four in three rows, the lowermost four figures 




SAINTS AT ST. ULRICH' S, AUGSBURG. 199 

being female Saints, and the uppermost four canonized bishops of the Church. 
Each Saint stands erect under a slight and floriated canopy, directed in look and 
action towards his neighbour. They have circular nimbi over their heads ; the 
bishopa hold the pastoral staff in one hand, and their attributes or symbols in the 
other. The martyrs hold the sword in one hand, and the palm branch of victory 
in the other. The female Saints, with one exception, bear the palm branch in 
one liund, and hold up their drapery with the other. 

Below each figure is the name in monkish characters. At the bottom of each 
impression is an inscription. That on D. 19 is 

" Die bailicrn raaten in Dem toirtieen onbat!0." 
That on D. 2O. (a continuation of D. 19.) 

" Saint OUric&0*ju auc^purg. toQciim [?] not?) jfiii." 

The first row (Bishops) of D. 19. exhibits S. Xartis, 1 S. Dionisi, S. Witerpus, 
S. Toyzo. 

In the second row are S. Affer, S. Quiriacus, S. Largito, S. Crescencianus. 

In the third row are S. Hilaria, S. Aflra, S. Digna, and S. Eunomia. 

St. AfFra is the patroness of Augsburg, she is here represented as wearing a 
crown within the nimbus, with her hands bound to a tree stem, the bottom of 
which along with her feet and dress is being consumed by flames, emblematic of 
the nature of her martyrdom. St. Aflfra had three handmaidens, St. Eutropia, 
St. Kunomia, and St. Dijrna. SS. Digna and Eunomia are here shown on the 
right hand of their mistress ; St. Eutropia is on the other (D. 2O.) impression. 

The mother of St. AfFra was Hilaria, who, along with the three handmaidens, 
perished for the faith a few days after St. AfTra had suffered martyrdom. 

Mrs. Jameson writes, " This St. AfFra appears only in the German pictures 
of the Suabian School. In the sacristy of the Cathedral at Augsburg there is a 
large picture by Cliristophe Amberger, in which the painter has represented 
St. Afra and her companions St. Eutropia, St. Eunomia, and St. Digna. I have 
not seen this picture, which Dr. Waagen describes as well-drawn and full of gentle 
and refined feeling in the heads. In the same church we find the same Saints 
executed in sculpture in an admirable style. When a bishop is seen in company 
with the German St. Afra, it is St. Ulrich, Bishop of Augsburg in 973, while the 
companion of the Brescian St. Afra is St. Apollonius, Bishop of Brescia in 300." 
(" Sacred and Legendary Art," p. 392.) 

On the upper row of D. 2O. are S. Simprecht, S. Nidgarius, S. Adelberon, 
S. Ulrich. 

In the middle row are S. Eutitianus, S. Fidalfus, S. Peter marter, S. 
Carito. 

The lower and female Saints are S. Eutropia, S. Nimima, S. Diomedia, 
S. Leonida. 

St. Ulrich or St. Udalrich was the first bishop and patron Saint of Augsburg: 
he din! in 973. 

" Ohne Wissen, dass es Freitag sei, gab er einera Boten ein Stiick Fleisch. 
Als Urn diser verklagen wollte, war das Fleisch in einen Fisch verwandelt." 
I \Vossely, " Iconographie Gottes, etc.," p. 390.) 

St. Ulrich is here represented with a fish in his left hand. When there is a 
key with the fish, the Saint to whom they Itolmiir N St. Ik-mm of Mri-.rn. 

[16 x 12 in.] [Uncoloured.] 



1 \V. -ivr the names as they are here spelf. 



200 



WOODCUTS. 



D. 20. 

VARIOUS SAINTS IN THE CHURCH OF SAINT 
ULRICH AT AUGSBURG. 

Described under D. 19. 





D. 2O.2. 

PROOF impression of a single figure from the block described under 
D. 1 9. The person represented is St. Adelberon, of the upper row 
of D. 20. 



D. 21. 

AN ALPHABET IN FIGURES. 

BEFORE 1464 (?). 
FRANCE, OR FRANKISH NETHERLANDS (P). 

alphabetical series (some wanting) of initial letters in which the 
characters are formed by human and other figures in various attitudes. 
The attitudes and positions are strange or grotesque, and the forms 
are variously draped. With the entire figures are occasionally asso- 
ciated the heads and tails of animal- either natural or chimeric, in positions 
requisite for the completion of the designs. 

Of the letter A but a fragment of the left hand part of it remains ; the letter 
II is damaged, of S but a mere shred exists, the letter T is wholly wanting, and 
of U or V a small portion only of the design is present. All of W is absent, this 
letter not having been ever engraved probably. 

The series terminates with a square of ornamental foliage. On a few of the 
letters vermilion has been applied to some of the accessories. 

Each design is enclosed in a border of three lines, the border being |ths of 
an inch wide. The design frequently intrudes to a variable extent over the iunrr 
two border lines. The size of each letter to the outer border line is about 
4 inches in height and 3[ inches in width. 

The designs have been supposed by some authorities to represent certain 
definite subjects, such as David and Goliath, the Sacrifice of Abraham, &c. ; but 
we cannot coincide in this opinion. The design of each letter is as follows 

[l] A. The back part of the right arm and a portion of the bare head of a 
man belonging to the left hand part of the design only now exist, with the excep- 
tion of the end of a wand or stick on the upper bonier, and an ornament <>\vr 
the place of the leg of the man, which ornament has been touched with vermilion. 
Thi> letter has been pricked over in a truii>friviire of the design. 

[2] B is composed of six figures. The upright limb of the letter is forim-d 
with a man playing on a pipe and tabor, standing with one- !;: on the shoulilrrs 



AN ALPHABET IN FIGURES. 201 

of another and younger man below, and resting the other leg on the curved termina- 
tion of a figure with a human head, on whose shoulders rests an old man. The 
latter reaches over with a club to the man playing on the pipe and tabor, thus 
forming the upper curve of the B. The lower curve of the letter is formed by a 
woman, who grasps with her right hand the upper curve, and by an old man be- 
low her who stretches out his foot to meet one of the feet of the man forming the 
lower part of the upright of the letter. The woman of the lower curve has a long 
stall' in her left hand, which has been here touched with vermilion. Within the 
upper curve and at the highest part of the letter has been written " R. Beths." 

[3] C. The great curve of this letter is formed in its upper part by half the body 
of a young man, who forcibly opens the mouth of a lion forming the lower portion 
of the curve. The ends of the figures are connected by an upright limb, formed 
with upper and lower grotesque horned satyr-like heads, the beards of which join 
in the middle of the limb. 

[4] D. The upright limb is formed at its upper part by a man holding a sword 
in the right hand, and who is seated on a horse which forms the lower part of this 
side of the letter. The curve of the latter is composed of a man seated on the 
shoulders of a grotesque, or monster-like figure. The man holds a wand in his 
left hand, the point of which is directed upwards towards the left hand of the 
man with the sword. 

[5] E. The left hand limb is composed of two figures, the lower one stretching 
across to the right hand a piece of his drapery to form the central transverse limb 
of the E. The upper and lower transverse (here curved) parts are formed by one 
of the horns of a grotesque head placed above and below. These horns pass over 
to a hand and foot of the opposite figures. 

[6] F. Two human figures and part of a dog enter into the composition of this 
letter. A man blowing a trumpet forms the upper part of the letter, the trumpet 
with its banner passing across to the right hand at the top, to form the upper 
portion of the F. The trumpeter kneels on the back of a young man playing a 
tabor, who, stooping forwards, forms with his head and arms the central transverse 
limb of the letter. Between the feet of the lower figure crouches a dog. 

[7] G. The greater curve is formed by a youthful, nearly erect, young man hold* 
ing a spear in his right hand, and standing on the head of a fish-like creature, be- 
tween the jaws of which the man's right foot enters. The upper part of the G is 
formed by the passing over of the left arm of the chief figure, who grasps by the 
band the hair of a gigantic head possibly, according to some critics, intended for 
Goliath's. The lower curve of the letter is formed by a stooping figure holding a 
Jlagellum by the handle in his mouth, and a book (?) in his hands. 

[8] II. A tall, erect, peculiarly draped man forming the upright part of the 
letter opens with force the jaws of a dragon-like animal, whose bent neck and back 
form the curve of the letter. The spiny wing of the dragon has received some 
touches of vermilion. The caudal portion of the dragon is here wanting, from 
dam 

[9] I. A tall man holds with his right arm a woman round the waist, and with 
his left hand supports her chin. She appears to rest her head on the man's left 
forearm ; he supports his own inclined head on his right hand, which is placed 
above the woman's head, and thus is formed the top of the letter. The bottom 
i- funned liv the outspread drapery of the female and the left foot of the male. 
Thi- thoughtful expression of the faces, particularly of the man's face, is note- 
worthy. 

[10] K. This letter is composed of four figures three mm and a woman. The 
tit limli of the K. is formed in the upper part l>y the female, who looks down 
\% ith a < aim expression of interest on a young man, who kneels at her feet. 1 1- i 
rL'ht hand just tom-he* hi- ri-jht -hoiilder, while in her left she hold-; a sort of 
wreath. '1'lic yomiL' man kneels on hi* left knee, and holds in his left hand a 
scroll, on which is in.vriU-d mon rp lUffl." He looks up with a smiling expres- 



2oa WOODCUTS. 

sion to the female above him, while he directs her notice to a ring which he holds 
delicately between the thumb and index finger of his right hand. The upper 
oblique limb of the K is formed of an old man kneeling, his feet being directed 
inwards and to the centre of the perpendicular limb of the letter ; the lower 
oblique part is a young man, whose head is downward, and his feet directed up- 
wards and inwards towards the middle of the K. This young man holds a billet 
of wood in his hands. The feet of the figures forming the oblique portions of the 
K just touch the shoulder of the love-sick swain. 

[ 1 1 ] L. A tall figure, holding a long straight double-edged sword point down- 
wards in both hands, and inclining his head over his left shoulder, forms the up- 
right portion of the letter. At his feet reclines a somewhat older man, forming the 
lower part of the L. This person supports his raised head on his left hand, and 
places the right hand on his chest. On the upper part of the blade of the sword 
has been written in small characters, with ink of a like brown colour (or now so 
at least) as that with which the cuts have been printed, the word London- On 
the drapery of the recumbent figure is a word in MS. and in like ink, which word 
has been read as Bethemsted, Bechemstrd, and Wethamstede. 

[12] M. The letter M is in the character of church text, each limb being formed 
of a human figure seated on the back of a chimeric animal. The outer left hand 
limb is made up of a nearly nude form seated astride the back of a nondescript 
creature with hoofed feet, and holding in its jaws at the top of the letter the 
sleeve of the upright raised right arm of an old man, who, seated on the shoulders 
of another strange animal, forms the middle limb of the M. A third figure, who 
holds a sword in his left hand and grasps with his other hand the upraised hand 
of the top figure of the central portion of the letter, is seated on a grotesque 
creature beneath ; over the shoulders of the latter may be seen the legs of the 
figure above dangling in front. The tails of the animals of the middle and right 
limbs connect at the bottom the three limbs of the M. 

[ 1 3] N. A tall draped figure, throwing back his head somewhat, raising the left 
arm, holding a poniard in the right hand, and having a crouching animal between 
his legs, forms the upright limb of the letter. An old man seated on the upper 
truncated part of a Triton-like creature, holds upright a straight sword in the 
left hand, and stretches his right hand across to the upraised elbow of the figure 
opposite. Some touches of vermilion have been applied to the tail of the fish-like 
creature. 

[14] O. Four large human heads with large open mouths and long beards go to 
compose this letter. The two heads above rest upon the two heads below, which, 
in an inverted manner, rise to the centre of the letter. The beards of the upper 
heads curve round and join at the top to form the higher part of the O ; the beards 
of the lower heads curve and join at the bottom to complete the circuit. 

[ 1 5] P. A man in a hooded monkish costume, standing on a prostrate animal, and 
holding a dub in his raised right hand, forms the upright limb of the letter. The 
curve is formed by a man supporting himself on his legs placed against the abdo- 
men of the figure opposite ; bending himself upwards, he stretches across his right 
hand, with a club in it, to the left hand of the figure opposite. The hand of the 
latter is covered with what appears to be a large conical cap. 

[16] Q. The body of this letter is formed of two grotesque headH, the beards 
of which join together at the bottom, the hair of the heads uniting in like manner 
above. A third head, connected by the beard to the other beards below, makes the 
tail of the letter. The tongue of the head on the right side of the Q (to the spec- 
tator) has been touched with vermilion. 

[17] R. A tall bareheaded man, holding his hat in the left hand and trampling on a 
prostrate lion, forms the upright limb of the letter. The upper curve is a man with 
the right foot on the abdomen of the figure opposite, and against the foot of the lower 
and upturned figure. The tall man raises his right leg somewhat over the right paw 
of the lion. The lower and oblique limb of tlu II i- I'.rmetl of an old in:in MOM ing 



AN ALPHABET IN FIGURES. 203 

a lon<; and curved horn. His logs arc turned upwards and inwards, so as to touch 
tin- waist of the upright figure, and the left foot of the man forming the upper and 
curved limb. 

[18] S. A mere strip half an inch wide is all that remains of the original 
sheet. This strip includes scarcely more than the perpendicular border of the left 
hand side of the engraving. 

[19] T. This letter is wanting. 

[20] [V. Of this letter the head and shoulders only of a man playing a pipe and 
forming the upper part of the left hand limb of the V are present. 

[2l] X. One oblique limb is formed by a man standing on the shoulders of a 
full-dressed female. He holds a bell in each hand. The other oblique line of the 
X is formed of two figures, one of whom the lower holds a bell in the right band, 
while the upper figure has a squirrel on his curved back. The lower figure unites 
himself by the left hand to the other oblique limb of the X while the upper figure 
joins it with his feet. 

[22] Y. The left limb is composed of a youthful figure, supporting on his left 
shoulder a monster having cloven feet and wings. The right limb of the Y is formed 
above of a man thrusting a long straight sword through the head and mouth of a 
chimera below, the caudal extremity of which forms the tail of the Y. 

[23] Z. This letter is in reverse. The oblique limb is formed of a bareheaded old 
man, about to unsheathe a dagger with his right hand. With the raised left hand 
he grasps the hair of a youth above, who forms the horizontal bar of the letter. 
The lower horizontal bar is formed of a prostrate youth, who supports his head 
with his right hand. 

[24] On the last sheet is represented a rich floriated design of the late Renais- 
sance character. 

It may be proper here to remind the reader that there is another " figured 
alphabet" besides the present one, well known to iconophilists(Bartsch,vol. vi. p.37 
n. 94-109, Pass. voL ii. p. 46, n. 94-109). In this second series, the designs are 
more grotesque and of a different character, and animal forms play a more im- 
portant part in the compositions than they do in the present series. In this second 
series also the technic id engraving en creux on copper, the work being generally 
assigned to the Master of 1466 and his school. The present alphabet [D. 21.] "I 
have described," writes M. Leon Delaborde (" Debuts de I'lmprimerie a Mayence 
et a Bamberg," Paris, 1846, p. 19, note 94), "in the memoir I have written ' Sur 
I'Orijrinede I'lmpression dans les Pays-bas,' and I have indicated what should be 
rciriirded as its relations with the well-known alphabet of the 'Master of 1466,' 
and with one still rarer, of an anonymous master (both engraved en crettr)." 

We have not been able to consult the "Memoir" referred to above, and shall 
do.c this section of the subject with the following extract from Mr. Chatto (" A 
Treatise on Wood Engraving," p. 139) 

" In the volume under consideration [i.e. our present alphabetical series, D. 21.] 
we may clearly perceive that the art of wood engraving had made considerable pro- 
gress at the time the cuts were executed. Although there are not any attempts at 
I nit dm it:, which was introduced about 1486, yet the shadows are generally well 
indicated, either by thickening the line or by courses of short parallel lines, mark- 
ing the folds of the drapery or giving the appearance of rotundity to the figures. 
Tin 1 expression of the heads displays considerable talent, and the wood engraver 
who, at the present time, mul<l design and execute such a series of figures would 
!' rutitk'd to no small degree of commendation. Comparing these cnt with such 
as arc to he SITU in hooks typographically executed Iwtween 1461 and 1490, it i 
surprising that the art of wood engraving should have so materially declined whrn 
employed liy printers for the illustration of their books. The best of the cuts 
printed with let terpre.-s in the period referred to are decidedly inferior to the best 
of the early block books." 



204 WOODCUTS. 

The figured alphabet before us not too highly praised by Mr. Chatto isr 
undoubtedly of a very interesting character, and plays an important part in the 
history of early engraving. It offers in the designs and technic points of much 
interest as regards both its artistic qualities and its place of production. The 
nationality of its author has not yet been determined. The general excellence of the 
designs, the expression of many of the countenances and actions, the determination 
and incisiveness of the forms and intentions, and the manner in which the compo- 
sitions have been engraved, all bespeak an artist of no mean qualifications, ami, 
indeed, of such excellence as to lead one to agree with Air. Chatto when he 
remarks, " With respect to drawing, expression, and engraving, the cute of tin; 
alphabet are decidedly superior to those of every block-book, and generally to all 
wood-engravings executed previous to 1500, with the exception of such as are 
by Albert Diirer, and those contained in the Hypnerotomachia," and to which we 
would add the first edition of the " Ars Moriendi." 

" The person," writes Ottley, " who designed this curious Alphabet must have 
been an artist of no mean talents, and the wood engraver also merits praise." 
(" Inquiry," p. 199.) 

While the peculiar light sepia water colour in which these designs have been 
printed, the character of the paper, the general style of work, and the particular 
manner in which the shades have been indicated by small oblique simple lines 
point to the epoch of the first edition of the " Biblia Pauperum," yet the feeling 
and expression in the designs forbid one to believe that the alphabet proceeded 
originally from either a Dutch, Flemish, or German artist, as several critics have 
supposed. 

In support of this, our own opinion, we would direct attention to the real 
grace and elegance of some of the designs, qualities which were not common to the 
Dutch and Flemish xylographic artists of the middle of the fifteenth century. The 
letters I, L, the prostrate and flying figures in Z, the upper figure of C, the lower 
figures of E and of F, have all a grace and tournure beyond those in the designs 
of contemporary xylographs. Further, take the letter K, where a love-sick 
youth kneeling at the feet of his mistress looks up at her with an expression of 
amorous assurance in his face and exclaims, " You have my heart," while he offers 
her a ring affectedly, yet delicately exhibited to her in his right hand. We accord 
with Mr. Chatto in the opinion that " the style of the drawing is not unlike what 
we see in illuminated French MSS. of the middle of the fifteenth century, and as 
the only two engraved words which occur in the volume are French, I am rather 
inclined to suppose that the artist who made the drawings was a native of France. 
The costume of the female to whom the words are addressed appears to be French, 
and the action of the lover kneeling seems also characteristic of that nation. No 
Dutchman certainly ever addressed his mistress with such an air. He holds what 
appears to be a ring as gracefully as a modern Frenchman holds a snuff-box, and 
upon the scroll before him are engraved a heart, and the words which he may be 
supposed to utter," Mon Ame [mon coeur avez]. (Op. cit. p. 134.) 

Against our own view may be ranged M. Leon Delaborde, who alludes to 
this alphabet as "evidemment compose et dessinc sur bois par 1'auteur <! la 
premiere edition de la Bible des Pauvres." (Op. cit. p. 19.) 

Mr. Ottley considered (MS. catalogue, p. 23) it to have been " apparently the 
work of a Dutch or Flemish artist .... and I suspect they wen- i-n^ra\r<l in 
England." Mr. Sotheby writes (" Principia," vol. i. p. 124), " We think the 
figure of the female above the kneeling one in letter K would induce auv 
one little acquainted with costume and other relics of art to jmmnuncu the 
lady to be a buxom Krtntir." 

Passavant appears to have been undecided between a Netherlands and German 
source. 

Ottley's opinion that the series had been engraved in England appears to n-st 
only on the manuscript English upon some of the cuts. On H, <. g. is in MS., 



AN ALPHABET IN FIGURES. 205 

" R Beths " (?) ; on L are the words " London " and " Bethemsted " (?), and on 
the verso of the last piece the floriated ornament is the draft of a letter 

lit'L'mning " Right Reverent wershipfull masters and Frynds, In the moste 

lnweliste maner that I canne or maye I here recomende me duly glade to her of 
yor good prosperite and welth." 

This writing has been stated to be of the time of Henry VIII. Mr. Ottley 
evidently considered the writing on the figures themselves as well as the latter 
to be of earlier date than the period of the monarch in question, A.D. 1509-1547, 
since he remarks, "The writing of both of which words appears to be of the 
fifteenth century, and coeval or nearly so as may be with the date of the cuts 
themselves." (" Inquiry, &c.," p. 199.) 

When this alphabet came first into the possession of the Museum, the sheets 
were mounted by their left hand or inner margins on pieces either of paper or 
parchment about two inches wide. Several of these strips had been cut from 
KiiL'lish MSS. apparently of the same date as the writing on the verso of the last 
piece. The sheets thus mounted were enclosed or loosely bound within a double 
fold of coarse parchment, within which on the outer fold were the words, one 
above the other, " Edwardus Lowes," in large old English characters, each word 
being enclosed within a scroll. 

In opposition to Mr. Ottley's opinion, it may be justly inferred, we think, that 
the sheets were mounted and enclosed fully fifty years after the woodcuts had 
their birth. 

With respect to the word " Bethemsted," Mr. Sotheby remarks that he cannot 
read the word as such ; " after the letter A, if such it be, comes an m or three 
upright strokes, with a dot above the final one, so that the intermediate syllable 
cannot be with propriety read as em. We think the word might with an equal 
chance of correctness be read ' Westminster.' " (Op. cit. p. 1 24.) 

" In this name " (Bethemsted), writes Mr. Chatto, " the letter B is not unlike 
a W, and I have heard it conjectured that the name might be that of John 
Wethamstede, Abbot of St. Alban's, who was a great lover of books, and who died 
in 1440. This conjecture, however, will not hold good, for the letter is certainly 
intended for a B, and in the cut of the letter B there is written ' R Beths ', 
which is in all probability intended for an abbreviation of the name ' Bethemsted ', 
which occurs in another part of the book." (Op. cit. p. 1 36.) 

During an examination of the cuts of this figured alphabet, the attention of 
the writer wa directed by Mr. Reid to certain sympathies if we may so write 
in their design and technic with those of many of the figures in the editio 
princeps of the " Ars Moriendi " (nnlea, p. 193). In this admirable specimen of 
early art, some single figures and groups are worthy of the pencil of Van Eyck 
himself and of the graver of Schongauer. Several of the heads in the cut to the 
" Teinptacio dyaboli de avaricia " (2O), and in the next illustration, as also Christ 
on the Cross, and a group of figures in the last cut of all may be particularly cited. 

In these two works, the " Figured Alphabet" and the "Ars Moriendi," there 
is a similar delicacy and refinement in several of their figures, which circumstance, 
taken in combination with the manner of the technic, the peculiar ink or colour of 
impression, the analogous framework enclosing the compositions, the character of 
the paper with the anchor for watermark, appears to indicate an alliance between 
the authorships of the two series. Admitting, however, that the character of the 
<lr~i'_'ns and inscription of the Alphabet point to a French designer, and thnt 
tain points connected with the Block Book link it to the schools of the Lower 
Rhine and Cologne, it may be yet conceived that as before stated these school* 
were influenced by Flemish nrt, l>y the art of Roger van der Weyden, and of the 
V:m Kyrks; while Flemish art itself was influenced in some instances by Frrm-h 
sentiments coming through the artists of the Frankish Netherlands, or when tin* 
latter wii- under tin; sway of the Dukes of Burgundy. A careful survey of the 
Print KOI -111 edition of the " liil.lia Punpenim " [D. 1.] will show also, we think, in 



206 WOODCUTS. 

certain of the designs and in its technic some characteristics which may incline to 
the opinion that these three works, viz. the " Are Moriendi," the " Figured 
Alphabet," and the edition mentioned of the "Biblia Pauperum," were produced 
about the same time and under similar artistic influences. While on this subject 
attention may be directed to some details in the technical execution of a St. 
George and the Dragon [D. 79.] among the woodcuts as perhaps affording evidence 
of its production by some one of the same school, but less refined in design and 
less technically capable in execution. 

The figured alphabet under notice would appear to have been unknown to 
Heinecken, Von Murr, BreitkoptT, Singer, Dibdin, and other writers of the end of 
the last and beginning of the present century. It was presented to the liritMi 
Museum by Sir George Beaumont; but whence obtained by him we do not know. 
Accompanying it was the following letter from Samuel Lysons, the well-knowi 
antiquarian and author of the " Reliquiae Britannico-Romaiue " : 

" King's Bench Walk, 

"27/A May, 1819. 
"Mr DKAB SIR, 

" I return herewith your curious volume of ancient cuts. I showed 
it yesterday to Mr. Douce, who agrees with me that it is a great curiosity. He 
thinks that the blocks were executed at Harlem, and are some of the earliest of 
the productions of that place. He has in his collection copies of most of the 
letters executed on copper, but very inferior to the original cuts. Before you 
return from the Continent I shall probably be able to ascertain something further 
respecting them. Wishing Lady B. and yourself an agreeable tour, 

" I remain, dear Sir, 

" Yours truly, 

" SAMUEL LYSONS. 
" The Astrological MS. is of no value." 

At the back of this letter was the following memorandum in pencil by Sir 
George 

"Before we returned from the Continent poor Lysons was no more; and I 
received this note long after his death. 

" 1823. G. J. BEAUMONT." 

The allusion in Mr. Lysons' note to a copy engraved on copper of the present 
woodcuts is substantiated by the remarks of Leon Delaborde. (" Debuts, etc.," 
p. 19, note), by Passavant's statements (vol. i. p. 119, vol. ii. p. 28, et f</.), and 
"Deuteches Kunstblatt" (June, 1850, No. 22, p. 172).' 

This copy in intaglio on metal has been attributed to the Master of 1 464 and 
his school. A complete impression on three oblong folio sheets is known, two of 
which sheets are (according to Brulliot and Passavant) in the Dresden Cabinet, 
and the third and last is in the Library at Vienna. The seven initial letters on the 
third or last sheet are fixed as separate pieces in a MS. in the Munich Library. 
(Brulliot.) 

The order (we quote from Passavaut) in which the letters are distributed on 
the sheets, is as follows 

ABCD EFGH 

NOPQ RSTV 

IKLM 
X Y Z. Ornament. 

1 See also Brulliot, vol. i. No. 3182. 



AN ALPHABET IN FIGURES. 207 

A. [Imperfect in the Museum Woodcut Series.] 

Two bearded men hold a label forming the middle limb of the letter, and on 
which may be seen four lines resembling manuscript (composed of small strokes 
only), but permitting of the date mcccclxiiii. being clearly to be seen, and quite 
below towards the right hand the mark /. l 

R. (The mark d wanting in the Museum Woodcut.) An old man, erect, near 
a lion is attacked by a young man with a club, who is placed above. 

Below is a man with a hood. On this letter below, and very small, is the 
mark d . 

S. (A mere fragment in the Museum Woodcut Series.) 

A monster swallowing a head. 

T. (Absent in the Museum Series.) 

Above, a dragon ; below, two monks. 

V. (A fragment only present.) 

Two players on the fife, placed diagonally, the feet joined. In the back- 
ground may be perceived the sign of abbreviation, t, which may lead to the 
inference that the V might serve also to indicate the W. Le*on Delaborde gives 
in his "Nouvelles Recherches sur 1'Origine de I'lmprimerie," Paris, 1840, p. 19, a 
facsimile of this initial ; but of the two signs which he has added, the first only 
belongs to this letter ; the second, as we have seen, is present on the letter R. 
(Pass. " Peintre-Graveur," vol. ii. p. 28.) 

" That this alphabet was prepared to serve as initials in MSS. and printed 
books the index at Basle affords proof. A like intention makes it clear why 
several similar alphabets were engraved on copper by other masters of the 
fifteenth century. . . . Whether the woodcuts served the copper-plate engraver as 
a model, or, vice vend, I do not venture to decide, for the technical execution of the 
one series differs completely from that of the other. If the woodcuts, as regards 
the manner in which their shadows are treated, accord in general with the old 
Netherlands Canticum Canticorum and other xylographic works of that period 
and country in which the shadows consist of mostly short horizontal strokes ; on 
the other hand, the hatchings in the copper-plate engravings of the Master of 1464 
consist of many close strokes often crossing each other, and which in the draperies 
are more generally perpendicular, or inclined downwards. The ink of impression 
has a very pale tone, and the printing has been effected by means of the rubber. 
These circumstances, and particularly a still very inapt management of the graver 
of this otherwise richly fanciful artist, give to his prints a very archaic appearance." 
(" Deutsches Kunstblatt," 1850, p. 172.) 

" The subjects of the two Alphabets the Netherlands on wood, and that on 
copper engraved by the Master of 1 464 (which, however, we have not been able 
mpare side by side) appear to be almost identical; but the management of 
the graver is different. In both the contours are, it is true, equally heavy, but the 
shadows in the woodcuts are formed of small, nearly horizontal strokes; while 
in the l>urin engraving they are composed of very fine hatchings with the dry 
point, almost perpendicular, and crossing slightly. It would be very difficult to 
decide which was the original, that is to say, the oldest of these two series; but 
it would be natural to believe on reflecting on the talent, full of fancy, of the 
r of 1464, that he was the inventor of these compositions, which were after- 
wards reproduced by engraving on wood. The woodcuts are slightly smaller 
than the others, measuring only 3 in. six lines in height, and 3 inches in breadth, 
while the subjects engraved with the burin are 4 inches high." (Pass. vol. ii. 

P- 30.) 

The watermark on the paper of the present woodcut figured alphabet [D. 2 1 .] 
is an anchor having a small cross springing from a ball between the shanks at the 

1 Pa? savant, in the " Deutsches Kunstblatt," states the date to form a fifth line, 

and lo be jiriveivalile " mit l>e affiiftoin Augc." 



208 



WOODCUTS. 



bottom. Half of this mark may be seen on the letters and I, which marks 
have been traced over with the lead pencil by some former possessor of the series. 
Mr. ( 'hat to observes (Op. cit. p. 1 32, note), " An anchor is to be found as a paper- 
mark in editions of the ' Apocalypse,' and of the ' Poor Preacher's Bible.' Accord- 
ing to Santander a similar paper mark is to be found in books printed at Cologne, 
Lou vain, and Utrecht, from about 1470 to 1480." 

An anchor (as well as the bull's head) may be observed as watermark on some 
of the sheets of the editio princeps of the " Ars Moriendi." 

" On examination, however, of these leaves [the pieces of the woodcut figured 
alphabet] we find that on those containing the letters A, E, and I, a portion of a 
watermark of the anchor appears, the same fitting and perfecting the other por- 
tions of the mark on N, R, and X, by which it seems that the twenty-four designs 
were taken off on three sheets of paper, eight letters on each sheet, the i-iirlit 
letters being probably engraved on the same block as in the subjoined diagrams. 




13 




1 




Ornamental 
foliage 



AN ALPHABET IN FIGURES. 209 

"The letter A (nearly all wanting in the Museum example) in the first 
diagram should contain the upper part of the watermark belonging to the first 
sheet. By the above arrangement the three sheets could be joined together 
horizontally, so as to form u frieze, in which case the letters would follow regularly, 
tVi'in first to last, in two rows. A margin of a little more than one inch was left 
between the top and the bottom row of letters, and a line divided this space equally. 
Perhaps the letters were sometimes cut by this line, and the whole alphal>et 
arranged in one unbroken series ; the spaces dividing the letters laterally appear 
to have been much less, and not to have had a similar line dividing them in the 
middle." (Sotheby's " Principia," vol. i. p. 122.) 

According to Mr. Ottley (" Inquiry, &c.," p. 199), "the left hand edge of the 
second sheet was originally intended to be pasted to the right hand margin of the 
first, and in like manner the third sheet to the second ; when the whole would 
have formed a frieze exhibiting in an unbroken seiies of two rows, the entire 
alphabet." 

It may be noticed on referring back to p. 206 that the order of the copper- 
plate series given by Passavant agrees with that designated by Sotheby. 

Of the woodcut Figured Alphabet which has been now described, there 
exists a well-conserved and complete series in the Museum at Basle, on two large 
folio sheets, and faintly coloured in red and yellow. According to Passavant 
(P. G., Tol. i. p. 1 19), there is a communication of Docen in the " Kunstblatt" 
of 1822, p. 51, t<> the effect that he saw these letters serving as initials to an 
alphabetical index of the Natural History of Pliny, to which they were affixed. 
(Pass, in " Deutsches Kunstblatt," 1850, p. 172.) 



D. 22. 

MOSES. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

ULM (?). 
(No. 144, WEIOEL.) 

I<N the middle of the design stands Moses, occupying the whole length of 
the print. He is fully draped, but barefooted, and rests on a narrow 
pedestal. He is surrounded by inscriptions and illustrations, having 
reference to the Law and infractions of it. 

The great Hebrew Lawgiver is bearded, and with long hair to the shoulders. 
The horns on his head take the form of the sides of a lyre, supporting at their 
tops a scroll, having inscribed on it ;fk"lOp 0(0 J)u Bfi : macueti flim". the latter 
words having connection probably with the " Decem abnsiones plebis," inscribed 
on :i scroll, which the Lawgiver holds aloft with his left hand. The long tunic of 
I is girded around his waist; there is an outer cope-like vestment, the collar 
of which is adorned with precious stones. Moses holds up with the right hand a 
diptych, .n the outer win;: of which is inscribed at the top IJDlima, and analogously 
i'ii tin- other wing ftceunHa. Below the word IPlima, arc tin- following words 
Diliflc Bominum Ucu tuu ejr toto corfle tuo ct f jc tota aia tua ft in tota mf te boe r marimu 
ct pmtim mantoatu. On the other -Me In-low ftceimUa i- en-raved $fcittuim 
aut cimilc c buic SDilicic [>>] projcimD tuQ oicut tc ipctim Jn bpo Duob 5 manoatio 
tota Icr pcntrt ct propbrtr 

p 




210 



WOODCUTS. 



On each side of Moses is a series of ten scrolls, of which those scrolls on the 
right hand have inscribed on them the infractions of the law committed by the 
people, and on the scrolls on the left are named the " plagues of Egypt." At the 
outer side of each series of scrolls is a row of pictorial illustrations, relative to the 
subjects recorded on the scrolls. 

On the first or uppermost scroll on the right hand are the words " pllOla fecit 
botno," the accompanying illustration to which represents the idolatry of a man, 
who kneels before an image of the Evil One on a pedestal. On the first scroll on 
the other side are the words IPrima rubw untta," by the side of which is the 
illustration of a river changed into blood. Above the series of illustrations on the 
left hand is a scroll, having on it the words " sDecem plaga GEflppta," 

Immediately below the collar of the mantle of the Lawgiver begins a series 
of oblong tablets, ten in number, and running down the front of Moses to the feet. 
These tablets are about an inch in width and half an inch in height, and have a 
narrow border with two lines. On each tablet is inscribed the ten commandments 

Clnum cceDe ueu nee bane iura p rpm Safabata canctificea C?abea0 in fconoe 
pno, etc. 

The figure of Moses is fairly designed and drawn, and the technic is firm and 
decided. The smaller illustrations, however, are mostly of inferior character, though 
one or two of the designs on the right hand are by no means bad. The print 
was formerly in the possession of T. O. Weigel, who remarks concerning it 

" This rich figure is well designed. Moses stands in dignified attitude, elevates 
the diptychon and scroll to the proportionate height of half his head, and looks 
out earnestly towards the world. The drawing shows the artist. The folds of 
the drapery are soft and natural, expressed partly by descending lines, partly 
through diagonal hatchings, and partly through both media. The technic also is 
sure, dexterous and powerful. The colouring is careful in the principal figure. 
In the hair, the flesh parts, and in the drapery the shadows are produced by 
deeper hues of the particular local colours. The colours at least where they are 
not mineral appear somewhat faint. We find madder red, rather pale in the 
vestments of Moses, of the unhappy father, of the murdered person, of the seduced 
woman, on several walls of buildings, on the diptychon with the exception 
of the white spaces which are intended for the inscriptions, and on the base of 
the statue of the idol. There is dark grey in the hair of Moses, verdigris, appa- 
rently tempered with chalk, in the mantle, in the jewels of its border, on the flat 
surface of the pedestal, and on the foreground of all the smaller illustrations. 
Yellow ochre, but rather pale, appears on the horns, border and lining of Moses's 
mantle, on the woodwork of the smaller illustrations, and on the borders sepa- 
rating the latter from each other. Cinnabar red is to be found pale in the flesh 
of Moses, but very powerful in the blood-red river, on the roof of the church, on 
the clothes of the idolater, of the perjurer, of the sabbath-breaker, murderer, 
thief, judge, seducer, usurer, and on the bed-cover of the adulterer. Brown at 
length appears in various shades in the clouds, in the wings of the lice and Hies, 
and on the clothes of the weeping mother. This system of colouring points to 
the school of Ulm. The time of the production of the print appears to have been, 
that when the nicked folds of the draperies disappeared, and the rounded hooji 
folds began. We must conclude, therefore, that it was about the third quarter 
of the fifteenth century. Our print is not without many small damages. At tin- 
sides and lower edge it has been cut to the quick. A watermark to the paper is 
not visible." 

While this example of early Art is under consideration, reference should lie 
made to that previously described under B. l . 

X 11} in.] [Coloured.] 




THE SACRIFICE OF ABRAHAM. 211 

D. 23. 
THE SACRIFICE OF ABRAHAM. 

LATTER PART OF THE FIFTEENTH CENTURY. 
ULM (?). 

the left stands Abraham bareheaded, in a close-fitting tunic with 
long sleeves, about to sacrifice his son Isaac. His right hand, grasping 
a long straight sword, is raised high above his head. The sword 
appears ready to descend on his son, who kneels with clasped hands 
before an altar on the right hand side of the composition. Above the altar hangs 
a ram by the neck from a tree. At the upper right hand corner an angel emerges 
from a cloud of rays who arrests the descent of Abraham's sword. Behind and 
to the left of the patriarch is a tree, and on the foreground below Isaac lies a 
bundle of lighted faggots. Both Abraham and Isaac have on pointed shoes. 

The design is of inferior character ; there is not any cross-hatching, but some 
shadows are indicated by parallel oblique lines. The actual cutting is clean. 

The system of colouring adopted appears like that of Augsburg and Ulm. 
Deep madder carmine is present in the drapery of the angel and Abraham, and 
this has received a coat of gummy varnish. The wings of the angel, the foliage 
of the trees and the ground are of verdigris green ; the tree stems, the altar- 
step and the rays are of a deep yellow colour. A double border line encloses the 
composition, the border being coloured a heavy red. 

[4f x 2|in.] [Coloured] 

D. 24. 
THE YOUTHFUL JESUS ON A BANK. 

LAST DECADE OF THE FIFTEENTH CENTURY. 

SWABIA. 
(No. 22O, WEIGKL.) 

>N the middle of the composition sits the youthful Jesus on a cushion 
placed upon a grassy bank. The body is directed towards the left, 
the head towards the right hand. A cruciform-rayed nimbus, without 
border, is around the head, the hair is waved and flowing, and the 
Saviour is draped in a long loose and graceful robe, below which appear the naked 
The right hand of Jesus is placed on a branch of a rose-bush (?) which 
springs up from the grassy bank, while the left hand holds a rose-branch at the 
bottom of the stalk. From the flower-stem on the left springs a bordered scroll, 
on which is the word Jfytaua. l'>y the side of the other flower-stem on the right is 
a scroll on which is inscribed Crifitufl. 

'1'ii. print has been brightly coloured. The rays of the nimbus, hair, flower- 
Mi 'ins, and the immediate foreground of the bank are yellow. The cruciform 
ions of the nimbus and the drapery are of a bright rose madder. The grassy 
bank and tlio leaves ci'tlio tloucr-Mrm- are of a deep green. 




2,2 WOODCUTS. 

Formerly in the Weigel collection. " The drawing is good if also somewhat 
mechanical, the technic is sharp, the impression produced with the rubber is also 
sharp and of a black colour. The angular sharp drawing, the sharp cutting, the 
colour of a lively shining madder red, bright yellow, and powerful green point 
towards Swabia. The form of the rayed glory points towards the last quarter of 
the fifteenth century." (Weigel und Zestermann, vol. i. p. 353.) 

There is not any watermark to the paper, which latter is that in use in Swabia 
during the fifteenth century. 

[4|. x 4j in.] [Coloured.] 

D. 25. 

JESUS CHRIST IN THE HABIT OF THE ORDER 

OF ST. FRANCIS; OR, THE REDEEMER 

TREATED SYMBOLICALLY. 

LAST DECADE OF THE FIFTEENTH CENTURY. 
GERMANY. 

must at. once confess that we are not quite satisfied with the inter- 
pretation which is here given of this design. Our reasons for coming 
to the present conclusions are, however, placed before the reader so 
that he may arrive at a judgment of his own. 

A figure in early manhood draped in the grey habit of the order of St. Francis, 
stands in reverent attitude in the middle of the print. Around his head is a large 
circular cruciform nimbus (properly the attribute of the Godhead only). The hair 
is divided in the centre and falls down gently over the shoulders. The head is 
depressed and slightly turned over the right shoulder; the hands are brought 
forward and clasped in front on a level with the diaphragm. The expression of 
the features is that of a lowly reverence. The feet have apparently been repre- 
sented unclothed, but the print having been cut away at the bottom, these appen- 
dages have been almost entirely removed. 

A scroll curves over the figure from the right shoulder to below the left arm. 
On this scroll has been written in sharp Gothic characters with contractions 




cuctotiit 00 cuum cuctoDit animam cuam." (Lib. Proverb : xiii. 3.) 
44 i flora rt toita in mambue linguae cuac." (Lib. Proverb: xviii. 21.) 

Colour has been delicately and appropriately applied to the print, which forms 
truly a beautiful design. The pose, expression and drapery are of very refined 
character, and the technical execution is of the most careful kind. The flesh 
parts are of a very faint light red, the disc of the nimbus is yellow, the cruciform 
limbs of it having been tinted also with light red. The hair of the head is light 
brown, 'the short beard is just indicated, the habit is of a cool grey. The 
background is quite plain. A single bonier line encloses the composition, with 
the exception of the upper line of the top of the scroll, which projects beyond it. 

The presence here of the cruciform nimbus has led to our considering the 
figure to which it is attached as representing our Saviour in early manhood, and 
as practising that humility and abnegation of the world wliirh was copied by, and 
o distinguished the Seraphic Father. St. Francis of As.isi, the founder of one of 
the three great mendicant orders. 

ir Mi|.j...-itio!i may be erroneous; for " the artists, like the copyist* of 
the Middle Ages, were often but little instructed ; tl.c . <.|,\ ists missed a word, a 



JESUS CHRIST. 213 

phrase, the artist omitted a constant character either from negligence or through 
ignorance. We must not be astonished, therefore, if we often meet with one 
of the Divine Persons without a nimbus, or with a continuous nimbus not 
cruciform. Analogous mistakes are extremely common .... A contrary error 
but of much less frequent occurrence bestows the cruciferous or Divine nimbus 
on a simple mortal. An ancient MS. of the library at Amiens exhibits at the 
top within a large arabesque capital B, a young beardless man, crowned with a 
diadem, seated, holding an open book in the left hand, and dipping a pen in an 
ink-bottle with the right. This youthful scribe bears a cruciferous nimbus, he is 
intent on the inspiration of a dove, who pours into his ear the poetry he is about 
to write. Certainly the miniaturist has made a mistake : this young man is David 
writing his Psalms, or at the utmost it could be but St. John the Evangelist 
assisted by his eagle; but in either case it is a mortal, and not God. In the 
library of the Arsenal there is a miniature showing a priest officiating, ornamented 
with a cruciform nimbus of gold. This person might be Jesus Himself exercising 
the priestly functions, but it should be remarked that he is bald, as St. Peter is 

represented, and that Christ is never bald The Missal of the Abbey of St. 

Magloire, which belongs to the fifteenth century, exhibits the Nativity of Mary, the 
little Virgin bearing a nimbus of gold which is divided by three cross-bars. But 
the Virgin has also a large aureole, which surrounds the body exactly as in the in- 
stance of God himself (as shown by an illustration further on) the Virgin is almost 
God. However, it mi'jjht be conceived that some extreme devotee had intentionally 
invested her with a cruciform nimbus, and that there was not any error in point 
of fact. But the error is manifest and twofold in another manuscript which 
belongs to the end of the thirteenth century. In it may be seen the prophet 
Johel, young, beardless, bearing the cruciferous nimbus. Johel listens to God, 
who speaks to him, and what is curious God bears a simple continuous nimbus. 
Here, then, has been a transposition : Divinity has passed over with the cruciform, 
nimbus from God to the prophet, while humanity has migrated from the prophet to 
God. These errors are full of interest ; they throw a certain light on the instruc- 
tion of the Christian artists." (Didron, " Iconographie Chretienne," p. 51.) 

[Sr X 3f in.] [Coloured.] 

D. 26. 
THE RAISING OF LAZARUS. 

SECOND HALF OF THE FIFTEENTH CENTURY. 
GERMANY. 

'N the foreground runs obliquely across the composition a low open 
tomb, having its head raised on our right hand. From this tomb rises 
Lazarus, in grave-clothes, with raised and joined hand*, and uncovered 
face. He is seen to the middle of the body. Over the further edge 
of the tomb at his side hangs a part of the grave-clothes. St. Peter leans 
the latter with his hands directed towards Lazarus, and his heat! turned round 
towards Christ, who stands on the left at the further angle of the end of the tomb. 
St. iVter has ii circular nimbus. Our Lord has a cruciform nimbus, long black 
hair and bcunl. He looks down towards Lazarus, raising his hands as if about 
saving, I,a/are, veni foras " (Johan : xi. 43). Between our Lord and St. I 
stands Martha, one of tin- sisters "I" I.a/.arus, from whom runs a lonjr scroll, on 
which are the words in sharp (lothie diameter-. :"d with contractions 

44 Dominc ei fuicoffl &ic, fratrr meuc mm fuifloc mortuuo." (Johan: xi. 21.) 




214 WOODCUTS. 

Over the bead of Martha is a circular nimbus, the disc of which is rayed. 
Martha looks towards Christ, and directs her right hand towards the tomb of her 
brother Lazarus. 

On the left hand of Christ, and at the foot of the tomb, stands Mary Magda- 
lene, with raised and clasped hands. Around her head is a circular nimbus, with 
a crenated border to the disc. Mary has long flowing hair, and a long loose 
mantle which hides her feet. She looks down in humility. Behind these figures 
is a group of thirteen disciples all bearing nimbi. One of the group is a female, 
and of the more distant of the group only the ninibi are to be seen. On the 
right hand at the further edge of the tomb and behind the risen Lazarus, are two 
figures conversing, cue of whom is a Jew. From the left hand of the companion" 
of the hitter runs a scroll bearing the words 

" <Ecce quomoTJo amabat eum." (Johan : xi. 36.) 

Behind these two persons the heads of other figures may be seen. In tin- 
background rise the towers, spires, &c. of a fortified town, i . c. of Bethany. At 
the upper right hand corner of the print emerges the hand of God the Father 
from some clouds. The fingers of the hand are placed as in the act of bene- 
diction, and from these project rays, so as to form a cross. 1 

In front of the tomb and in the immediate foreground runs a long scroll, one 
end of which touches the lower drapery of our Lord, while the other end extends 
to the lower right hand corner of the composition. On this scroll is inscribed 

" <L"oo cum rcourrcctio rt uita, qui cretrit in me etiam oi mortuuc fuerit, titoct." 
(Johan : xi. v. 25.) 

Between this scroll and the tomb lie a shovel and pickaxe. 

The print has been coloured, and it appears as if some slight kind of metallic 
illumination had been applied to certain parts, as, e. g. to the cruciform limbs of 
the nimbus of Christ, on the rays near the fingers of the Deity, on the turban and 
mantle of the person talking to the Jew, on the draperies of Martha and Mary, and 
elsewhere, but which metallic illumination has now changed or vanished. It is right 
to add, however, that an authority we respect, and to whom we submitted the 
print and our opinion, differed with respect to the hitter. Mr. Frederick George 
Stephens (the authority in question) considered such lustre as remained was due 
more probably to the contracted particles of a gummy colour like camboge, or 
of some gummy varnish, which had been applied over the colour. Another 
authority was in accord with our own opinion. Green, yellow, and light brown 
colours are prominent. A black border line encloses the composition, down to 
the outer edge of which the print has been cut. 

C>{- X 7 1 in-] [Coloured.] 

1 Antea, p. 2O. 







AN "EGCE HOMO." 215 

D. 27. 
AN "ECCE HOMO." 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 134, WBIQEL.) 

*HE head and naked body (to below the false ribs) of our Lord arc 
here represented. The action of Christ is somewhat of a crossed 
character. The head is inclined over the right shoulder, and the 
look is towards our right. The body is turned slightly towards our left. 
Around the head is a wreath of thorns, and above, an elegant cruciform nimbus. 
The hair is thick and black, and falls to one side over the right shoulder. Our 
Lord directs attention to the puncture in His right side with His right hand, from 
the wound at the back of which blood flows, as it does copiously also from the 
gaping wound in the chest. The left hand is so raised as to exhibit the wound in 
the palm, whence the blood flows in a stream down the forearm. There is much 
expression in the face of pain and sorrow ; the drawing of the right hand is fine 
and artistic, and there is a feeling and delicacy about the design which must be 
evident to the observer. Above and on a level with the middle of the head is in- 
scribed on our left CCC [CCCf], on our right f?om [fcomo] ; these words being im- 
perfect from the damage the print has received. 

Colour has been applied. The wreath of thorns and parts of the cruciform 
limbs of the nimbus are of a pale greenish-yellow tint ; the wounds of the body 
and hands, the central parts of the cruciform limbs of the nimbus are bright red ; 
the hair is of a deep brown hue, or almost black, and the background is brownish- 
yellow. Unfortunately this valuable relic is in bad condition, and thus the original 
beauty of the work can be conjectured only from its present state. It was 
formerly an ornament of the Weigel cabinet. 

" To indicate the place and time of its production would be very dfficult. In 
its way it stands alone almost. In the library of the Church of Our Lady at 
Danzig is a folio print representing the 'Arms' l of Christ. In the middle appears 
the half body of our Lord rising above the tomb' almost in an identical position 
with that of the figure in the example before us. But irrespective of the circum- 
stance that the former is not so feelingly represented nor so finely drawn, it differs 
in several other particulars. The drawing and technic, pose and character of our 
present example, are developed so artistically and are so beautiful that one is 
involuntarily reminded of a master such as Martin Schon. The soul-expressive 
eyes, the features full of character, the fine flowing hair, the well-made-out 
wreath of thorns, and even the delicately-formed letters of the inscription refer 
us unquestionably to the middle of the second half of the fifteenth century as the 
time when the print was produced. Unfortunately not an indication exists as to 
who was its author. As to the place of its production we arc ignorant also. \\V 
acquired the print from Professor Ackennann, who had removed it from a MS. of 
the fifteenth century, with the immediate scription of which it was so connected 
that it must be regarded as having been contemporaneous with the manuscript in 
question." (" Antange, etc.," vol. i. p. 21 8.) 

[5 J X 4J in.] [Coloured.] 



1 Antca, p. 152, C. 8. 




216 WOODCVTS. 

D. 28. 

AN "ECCE HOMO." 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

UR Lord, as an emaciated, naked figure, stands alone on the design. 
Tin- body is bent and directed in action towards the spectator'* Id'; 
hand. The head is slightly inclined over the right shoulder ; around 
the brow is a dense wreath of thorns. The hair is thick and long, and 
falls over the shoulders. Our Lord's body is marked all over with wounds 
streaming with blood, the result of the flagellation to which He has been subjected. 
The arms are brought forward in front of the body, and crossed at the wrists over 
the pubes. In the right hand Christ holds a large rod, and in the left a scourge 
of three thongs, each thong having at the middle and the end a large and spiked 
knot. Below the figure are seven lines of inscription (occupying a space of l|lha 
of an inch) in Gothic characters, to the following effect, viz. 

Clnocrm limn fro tfiu ict octn briligrr Irib uberal ntit ten ccbarpttrn >rrff> 
ten in ten oaiccln hniipftcn also jcmcrlich ;crnc0cn e rlocbert itnH tcrtounDct taorDcn 
Das tin uollcr fdcber unti Kumel oreulicb ccfitalt [?] gctocot [?] unn eein nrilic 
LHipprn crofbcn toortoen :-] u 310 man hat in Den bimlincfcc n oftrnbarrunglt ftstnt 
33rieiten im .[?] twit bucfj un Ijcjr capitcl." 

The above inscription having come off very imperfectly in the impression, a 
former possessor of the print has gone over the imperfections with pen and ink. 
The latter has " run " in places, and thus rendered matters worse. Apparently 
the same person has written below and outside the border lines of the cut 

" Inn dergleichen gestalt ist XjT? His vor kurtzer jarn einer 
Schwester unsers heiligen Ordens erscheinen als . . . . in dem ... . ?" 

A double border line encloses the figure and engraved inscription, the latter 
being separated from the foreground of the figure by a narrow black line. The 
entire ground of the print is plain. 

Colour has been applied of deep and heavy character. The colourist has 
gone over the general outline of the body with a deep brown tint, which has been 
used also heavily in the shadows about the pelvis, and to the hair of the head. 
The whole body of our Lord is marked with blood, which streams from tin- 
wounds resulting from castigation. Here and there the "voller Locher un<! 
Runzeln " are indicated with spots of opaque white or body colour. 

The wreath of thorns and rod are loaded with verdigris. The border has 
been tinted a crimson red. 

The paper is strong and coarse with unusually large wiremarks, part of 
the large bull's head watermark may be observed. The print presents altogether 
a peculiar appearance. 

[6J X 4j in.] [Coloured.] 




AN "ECOE HOMO." 217 

D. 29 a. 
AN "ECCE HOMO." 

FIFTEENTH CENTURY (?). 
ENGLAND (P). 

'HIS extremely interesting little print represents the subject it brings 
before us in a devotional and symbolical manner. It was discovered 
by Mr. William Young Ottley, in the sale catalogue of whose collection 
it is thus referred to. (London, 1837.) 

" 1 894. The Ecce Homo. A very singular and interesting print representing 
the upper part of the body of our Lord on the cross, with blood gushing from the 
wounds; below the print are six lines in English granting an indulgence to those 
who devoutly on their knees say six pater nosters and six avees ; the cut measures 
4 J- inches by 2 ' f inches. It appears from the holes in the margin to have been 
pinned against a wall, or perhaps sewed with a needle against some tapestry." 
" ' . ' This is the earliest print by some centuries which bears an English inscription, 
and is probably by a native artist. Mr. Ottley considered it the most curious 
print in his collection ; with it is the facsimile he had made for his unpublished 
work." The work here referred to is " An Inquiry concerning the Invention of 
Printing, &c.," London, 1 863. Edited by J. Ph. Berjeau.] 

Mr. Ottley thus comments himself on this print in the " Inquiry," p. 1 98 : " Of 
the early use of wood engraving in England, although no one can doubt the fact, 
I am not aware that any certain evidence has hitherto been produced by any 
writer on these subjects, and I have therefore great pleasure in laying before 
the reader the facsimile [D. 29 6] of an ancient wood engraving, unique, I 
believe, in its kind, which, it is evident from the language and the forms 
of the characters in the inscription under it, was engraved in this country, and 
which bears, I think, such marks of antiquity as to render it not very improbable 
that it may be as old as the St. Christopher [1423]. This interesting specimen 
represents the half figure of Christ after his Passion, with the Cross on which he 
suffered. It is remarkable that the title on the label at top is in Greek ; though 
the two first words of it 6 : BACTAVS are all that it has been found possible 

to decipher, the characters that follow being very equivocal. Over the arms of 

-A. -/-L. 

the Cross we have 1C, XC, and below ' ffccc fjomo.' In the margin under- 
neath are these four verses written in old English characters, among which are 
the ic and the Saxon character denoting /A, exactly formed as we find them in Eng- 
li.-h MSS. of the end of the fourteenth and the early part of the fifteenth century 

" ftepm orcoor. 32Birf> oprr [other] pope0, $ bpccbopfa pn 0m, U?aoc gran. 
ten of paruon rrtn Darco 1 nui mill peer. o rcqm pat brfor pi0 fpcur on prir 
fenrro Detoourtp 0ap . to . pater nooter f . to . aticco. 

" I had the good fortune to discover this little woodcut several years ago 
stiidifil on a blank leaf at the beginning of a manuscript book of devotion on 
vi-llum, which I judged to be of the latter part of the fifteenth century. But it 
was evident, from the numerous needleholes in the margin, that it had been in like 
manner si-wed into at least two other books previously ; besides which, it appears 
from the back of the print that in the first instance it had been folded, and that 
for a length of tinu- it had born < arri. .1 about by the devout possessor of it in a 
small porkrt-liook. Tlii- pu-ri- is printed in a brown tint by friction." 

Tin- " very ri|tiivoi-al characters " a!lu<lotl t<> in tin- prcct-ilin^ extract as fol- 
lowing t|| L . ui.rds O ; BACTACvS ar- to U- inliTjiivU-d as flora t,rtm. This 



ai8 WOODCUTS. 

solution of the difficulty we owe to the kindness of Mr. Thompson, the keeper of 
the MSS. in the British Museum. Mr. Thompson himself, we understood, received 
the clue to the enigma from Mr. Henry Bradshaw, Librarian to the University of 
Cambridge. 

Though the forms of the figure of our Lord are here angular and meagre, yet 
there is much delicacy and refinement about them. The subject is treated in a 
tender and reverent feeling after the Byzantine manner, and from a late picture 
or miniature of which school we believe the pictorial portion of this cut to have 
been copied. The style of colouring which has been adopted, simple as it is, is 
far from ineffective in its way; it is quite removed from commonness and vulgarity, 
and bestows on the print, the paper of which has become toned down to a rich 
cream colour, the characters of a painting on vellum. 

The disc of the nimbus is of a deep golden yellow, divided by cruciform rays 
of bright vermilion. From each wound in the chest and hands issue two large 
and clearly defined drops of blood, bright vermilion. The hair of the head is of 
a rich deep brown or warm black, as are also the perspective edges of the Cross, 
and of the tablet of the superscription. The broader surfaces of the Cross are of 
a light warm black hue, and the capital letters and numbers of the inscription at 
the bottom have been overlaid with a golden yellow tint. The border which 
encloses the whole has been coloured light red. The whole of the background, 
the tablet of superscription, and the body of Christ have been left plain. 

The technic is clean and precise, and both it and the drawing of the contours 
have been carefully attended to. Under any circumstances the example is one of 
much interest. It was exhibited to the public in the King's Library of the 
Museum, in the year 1867. 

[4J- X 2^ in,] [Coloured.] 

D. 29 b. 
AN "ECCE HOMO." 

PROOF copy of the facsimile of the previously described print 
[D. 29 a], which was prepared by Mr. Ottley for insertion in his work, 
entitled " An Inquiry concerning the Invention of Printing, &c." This 
work was published after Mr. Ottley's death. It was prefaced with an 
" Intrdouction " by Mr. J. Ph. Berjeau, and the copy before us bears the imprint 
of Joseph Lilly, London, 1 863. This facsimile of D. 29 a, may be found facing 
page 1 98 of the work in question, 

D. 30. 

CHRIST AFTER THE FLAGELLATION, AND 
THE BEING MOCKED. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

1 1 1 '. design represents the interior of a prison-like room, in one corner 
of which is a marble column, to which our Lord is attached by a cord 
passing around His waist. Christ is naked, with the exception of a 
loin cloth being present, one end of which hangs over the left hip. 
The action of the figure is to our left hand. Our Lord stoops much, resting both 








CHRIST AFTER FLAGELLATION. 219 

Tlis hands above the knees, as if in suffering. A large cruciform nimbus encircles 
the, head. Above the latter is a tablet on the wall, having some Hebrew letters 
on it. In the wall of the right hand side of the room, and behind Christ, is a 
window with crossed iron bars, through which gazes the Blessed Virgin on her 
Son. A circular nimbus is above her head. Opposite Christ, and on our left, 
are two soldiers about leaving the room of punishment, through an open and arched 
doorway. The hist to leave has a flagellum in his left hand, and under his left 
arm a rod. He turns round and mocks at Christ with his right hand. On the 
floor of the prison lie twigs from the rods loosened in the flagellation. The beams 
of the ceiling of the room are visible, and with the lines of the pavement run in 
tolerably correct perspective to the point of sight. Shade is indicated by widely 
separated parallel lines. 

Colour has been applied to the lips only of the figures. A double border line 
encloses the composition. The flower stalk and part of a bull's head watermark 
are present. This print is referred to in the " History of our Lord," by Mrs. 
Jameson and Lady Must lake, vol. ii. p. 83. 

[4f X 3 in.] [Uncoloured.] 

D. 31. 

THE VIRGIN WRAPPING THE LINEN CLOTH 
AROUND OUR SAVIOUR'S BODY. 

FIFTEENTH CENTURY. 
FRANCE (?). 

'HRIST is being led to execution, passing onwards to our right hand. 
Behind Him follows His Mother, who is about girding the body of her 
Son with a cloth. A soldier in armour has just stripped the mantle 
from our Lord's body, which is marked all over with the blood result- 
ing from the flagellation. Christ stoops forward, but turns round His head to 
look towards His Mother. Around the Lord's brow is the wreath of thorns, and 
a cruciform nimbus encircles the head. The hair and beard are strongly marked. 
Hchind Christ are two other soldiers, and behind the one stripping off the mantle 
is another soldier in armour. Two holy women attend upon the Virgin Mother, 
but not much more than their nimbi can be seen. Though the action of the 
principal figure seems somewhat affected, yet the drawing, particularly of the 
lower half of the body, is very good. From the action in question, we should 
judge this print to be probably of French origin. 

Colour has been resorted to yellow, light brown, and madder red are the 
dominant hues. The wreath of thorns is of verdigris green. A border line, here 
coloured red, encloses the composition. The print has been cut away so much in 
places as to render its condition rather defective. It has been backed with a MS. 
from a book of Latin prayers. 

Alluding to the incident here pietorially represented, it is remarked in tlio 
' History of our Lord," that, " if it does not claim our assent like the last [Chri-t 
stripped of His garments] as to a fact which must have happened, it obtains our 
sympathy on ground." which only a very morbid delicacy could criticize. It is a 
fiction, like oilier passages we have considered in the part taken l>y the Virgin in 
the I'li^on, but this time :i fiction not at variance with the beauty of her character, 
and therefore harmonious and touching when seen in Art. This culij. 
rarely seen, l>ut m:i\ lie traced to a passage from a dialogue on the Passion of our 
Lord, much after the fashion of St. HrL-itta's " Ke\ elation*," l>v one Pyonisius a 





220 WOODCUTS. 

Richel, a Carthusian who makes the Virgin say, " Panniculum cnpitis mei oircuin- 
ligavi lumbis cjus " (I wrapt His loins round with the cloth from my head). (Vol. ii. 
p. 126.) 

[3f. X 2 in.] [Coloured.] 

D. 32. 

CHRIST ON THE CROSS, SYMBOLICALLY 
TREATED. 

SECOND HALF OF THE FIFTEENTH CENTURY. 
NETHERLANDS. 

i N the present example of early Art, the subject of the Crucifixion of 
our Lord is represented in a highly symbolical manner. 

It may be observed in the first place, that the Cross itself is in the 
form of a pectoral cross with large ornamental tablets at the ends of 
both transverse and upright limbs, and trefoils at the corners where these limbs 
decussate. Within the ornamental tablets are the emblematic effigies of the four 
Evangelists. St. John is at the top of the Cross ; St. Mark at the bottom ; St. 
Matthew on our left side, and St. Luke on our right. Obliquely across each 
effigy runs a scroll, on which is the name of the particular Evangelist. 

Christ is extended on the Cross, the head being inclined over the right shoulder. 
Around the head is a cruciform and rayed nimbus. A wreath of thorns is around 
the brow, a narrow loin cloth is present, the feet are crossed, but there is not any 
guppedaneum. Blood streams from the four chief wounds. On our Lord's right 
side, immediately below the transverse beam of the Cross, hovers an angel, who 
holds a large chalice in each hand, in which he receives the blood from the wound 
in Christ's right hand, and from that at the right side of His chest. 1 Below this 
angel is a second one, who receives in a like chalice the blood as it streams 
from our Lord's feet. On the other side of the Cross is a third angel receiving 
the blood as it drops from Christ's left hand. 

Above, and running parallel with the transverse limb of the Cross, is a broad 
scroll, on which is inscribed in two broken lines of large lower case Gothic cha- 
racters 

<&ol0ot$a caltmr Iocu0 tiliccim 3 ictc 

pn quo pcntanim [?] ccmic fcoc pater mute 

Above this scroll are emblems of the sun and the moon, the sun being at our 
left hand, the moon at the right hand cornerof the print. Below, on the right hand 
side of the Cross, stands the Virgin with depressed head, sorrowful expression, 
and raised and clasped hands. A large nimbus, with border and rayed disc, is over 
her head. A long two-edged sword pierces her chest. She is clad in tunic and 
mantle, the Utter passing over the head. Her feet are concealed by this drapcrv. 
On the other side is St. John, clad in tunic and mantle, with raised and clasped 
hands. A nimbus, with border and rayed disc, is over the head. Not any book 
of the Gospel is here to be observed. The tunic is girded around the waist, the 
ends of the girdle being shown, as are also the toes of the bare feet. The hair 
of the head is thick and curly. 

Above the heads of the Virgin and of the Evangelist, and below the extended 
wings of the angels, are the words ft ^iSaria %> J^annte respectively. 



1 On the piercing of the right side of the chest of Christ, see 
" Symbols and Emblems," p. 88. ^ 



CHRIST ON THE CROSS. 221 

The immediate foreground is covered with herbage, a very large plant being 
represented between St. John and the foot of the Cross. Much of the ground La 
the work of restoration, however, the print having received considerable damage. 
There is restoration elsewhere also, and the entire print has been carefully lined. 
A border line, much restored in places, encloses the composition. 

The countenances of our Lord, of His Mother, and of St. John are heavy in ex- 
pression ; those of the angels much less so. The latter figures are the most artisti- 
cally designed of the group ; their drapery, though very acute and angular in its folds, 
is really well cast, and two of these angels at least are graceful and charming figures. 

Colour has been resorted to ; it is now pale in hue. The brown tint of the mantle 
of the Virgin and of the vestment of one of the angels has stood the best. The rose 
tints of the Virgin's tunic, of the mantle of St. John, of the angel with two chalices, 
and of the framework of the ornamental terminal tablets have been fugacious. The 
yellows of the nimbi, of the borders of the Cross, &c., have also flown. The ink of 
impression is pale and of water-colour, much like that of some of the Block Books. 

At the lower part of the print is a watermark of a crown, from which rises a 
stalk, having at its top two obliquely crossed bars. 

Though the figure of our Lord and of St. John, the common character of the 
symbols of the sun and moon, &c., would point to Germany as the place of the 
production of this example, yet the draperies, the figures of the angels, and some 
other parts lead to the supposition that the Flemish School was its originator, or 
at least the School of Cologne, or of the Lower Rhine, as influenced by the Van 
Eycks. 

[14^ X 9f in.] [Coloured.] 

D. 33. 
CHRIST ON THE CROSS. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

LOWER RHINE SCHOOL. 

(No. 171, WEIQEL.) 

the centre of the composition is a tau Cross, the transverse beam of 
which touches the inner line of the border of the print. On the Cross 
hangs the Saviour, from whom life has departed ; the head is inclined 
over the right shoulder, and the fingers hang flaccid or bent over the 
iinil- which pierce the hands. A nimbus and wreath of thorns encircle the head, 
t In- feet arc crossed ; there is not any suppedaneum. The loin cloth is narrow and 
close fitting. Blood drops from the wounds in the left hand, from the brow, from 
tin* right side of the chest, and from the feet. The hair of the head is thick and 
dark, fhlliii'_ r over both shoulders. A narrow beard is present. 

On the transverse limb of the Cross to our right hand of the Saviour's head is 
a tablet, on which are the letters INRI. 

< >n i lie left hand side of the Cross, and close to it. stands Longinus in armour 
<if tin- fifteenth century. He raises his right hand aa he recoils somewhat in 
wonder, and looking up at Christ appears to say, " Vere hie homo Justus erat " 
(Lue: 23,47). 

Piehiml r.onirimis are three soldiers, of two of whom the bust* only are to be 
seen : one wears a (minted cap, the other a close-fitting n>ninleil one. The 
soldier with the pointed cup holds erect a banner, the other hears a hullienl M 
hi- left >limilder. Of the third soldier tin- entire body nearly is M-.-II in profile. 
He is rlad in a short .-urtout, tiulit 1-reeehe* and hose, and pointed shoes. He ha* 




222 WOODCUTS. 

a round cap with a long tail on his head, and a straight short sword at his side. 
He appears as if stepping towards the Cross. Immediately in front of Longimis, 
and of these three soldiers, stands a man in a long robe, close fitting about the 
chest, and with short wide sleeves. Around his waist is a scarf-like girdle. He 
wears a flat cap and pointed shoes. 

On the other side of the Cross is the Virgin, who has fainted and fallen back 
into the hands of St. John and of Joanna. She is covered from head to foot in a 
long mantle, which is open in front exhibiting the tunic beneath. A nimbus ia 
over her bead. Above the latter appear the heads and nimbi of St. Mary Mag- 
dalene and St. Mary (the mother of James). St. John casts aside his head in 
sorrow, while Joanna looks anxiously at the fainting Virgin. At the foot of this 
group, and in the immediate foreground, lie a skull and some bones. 

In the background, and on a hill, rise some houses and a castellated tower 
above the group of the Holy Women. Above the soldiers the flattened summit 
of a hill runs across the background. A broad border encloses the composition. 

The print has been both coloured and illuminated, but the metals of the nimbi 
and armour, &c. have oxidated and blackened. The sky, mantle of our Lady, and 
Mil-tout of one of the soldiers, are of a bright azure blue colour (ultramarine ?). The 
draperies of St. John, of Joanna, and of the other Holy Women are bright red, as are 
also the cap and hose of one of the soldiers. The roofs of the buildings and the 
banner are red. The wreath of thorns on the brow of the Crucified, the greater 
part of the foreground and the hills in the background, are green. The border was 
formerly illuminated, and an outer edging of red colour applied above and below. 

When first executed this print must have presented a very brilliant appear- 
ance. It formed part of the Weigel collection. 

" The drawing is careful, the technic tolerably fine, but not sharp ; the coun- 
tenances somewhat plump. The ink of impression is blackish-brown. The im- 
pression itself is not sharp, however. The colouring is lively in character .... 
the shadows are expressed not only with hatchings, but through gradations of the 
colours. In the armour and vestments early and late forms are mixed together. 
.... We are inclined to place the time of the origin of the print in the second 
half of the fifteenth century, and on account of the system of colouring adopted we 
should consider the locality of its production to have been the Lower Rhine. It 
must be admitted, however, that azure blue and a coloured margin around the 
print were employed by Giinther Zeiner in 1472, and also by Biimler in 1474, 
in Augsburg." (" Anfange, etc.," vol. i. p. 268.) 

[6 X 4f-in.] [Coloured.] 



E>. 34- 
CHRIST ON THE CROSS. 

EARLY PART OF THE SIXTEENTH CENTURY. 
LOWER RHINE SCHOOL. 

; N the middle of the design is a large tau Crow on which is extended 
the Crucified. The head droops down on the right shoulder, the feet 
are crossed, a suppedaneum is not present, the loin cloth is long and 
fluttering. A wreath of thorns is around the brow. On a scroll at 
the top of the Cross are the letters I N R I ; at the foot of the Cross are a skull 
and some bones. On the right of the Cross stands the Virgin; a tall meagre figure 
clothed in a mantle from head to foot, which is scnu \\liat open in trout, exposing 
the tunic beneath girded round the waist. A head-cloth, not part of the mantle. 




CUEIST ON THE CROSS. 223 

is present; and a circular nimbus is over the head. The Virgin turns away 
lier head 1'nmi the Cross, looking down in sorrow on the ground. The arms are 
brought forward in front and crossed at the wrists. On the other side is St. John, 
in large mantle and tunic, and with bare feet. He ha* a nimbus, and looks up 
\\iili much anxiety at our Lord. He has long and curled hair; his hands are 
ruM'd and crossed over the chest. The foreground is stony and rocky, the back- 
ground remains plain. 

The technic is clear and clean, the shadows are expressed by simple oblique 
lines. The veins of the wood of the Cross are clearly indicated. The drawing of 
the extremities is bad, particularly of the hands and feet of the Saviour. There 
is expression in the faces, though that of the Crucified is heavy in character. 

Colour has been applied to this print at a past time. A former possessor had 
represented by hand the symbols of the sun and moon, a rayed glory over the head 
of Christ, and clouds in the sky ; but the print has been washed, and colour and 
pictorial additions have nearly disappeared. The paper is firm ; not any water- 
mark is present. 

[11 X 7 f in.] [Slightly coloured.] 

D. 35- 
CHRIST ON THE CROSS. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
BAVARIA. 

!N the middle of the composition stands a large Cross, the top of the 
upright limb of which extends but a very short distance beyond the 
transverse beam and meets the inner line of the border of the print. 
Our Lord does not appear to have ceased to live, but seems as if 
suffering convulsive agony, as indicated by the fingers contracted on the palms, 
the drawn-up position of the right lower extremity, the contracted brows, and 
ijiMirral expression of the face. The head hangs over the right shoulder, around 
it is a wreath of thorns and a cruciform nimbus, with delicately rayed transparent 
di.-r, through which may be seen the wood of the Cross. The loin cloth is close- 
lilting around the hips, but one end of it flutters in the air. The feet are slightly 
crossed. Blood proceeds from the wounds in the feet and brow, and a wound gapes 
at the right side of the chest. Above the transverse beam is a tablet, on which 
are the letters I N R I. 

( hi the right hand side of the Cross stands the Virgin, draped in mantle, tunic 
and head-cloth. Around the head is a ringed nimbus, with ornamental border. 
Tin 1 hands are brought together and raised in front of the chest. She looks to- 
wards the feet of the Crucified with an expression of patient resignation. 

It has been a question with the learned," writes Mrs. Jameson ("Legends of 
the Madonna," p. 305, ed. 1852), " whether the Virgin Mary ought not to stand 
on the left of the Cross, in allusion to Psalm cxlii. 1 (always interpreted as pro- 
phetic of the Passion of Christ), ver. 4: 'I looked on my right hand, and, beheld, 
lint there was none who would know me.'" 

On the opposite side is St. John in mantle and tunic. He bean a ringed nim- 
bus with ornamentNl bonier; tin: hands are brought together in front of the chest; 
he looks towards the Cross. His bare feet are visible. In the immediate fore- 
ground, at the foot of the Cross, lie a skull and some bones ; at the bottom of the 

1 IValm cxli. of the Vulgate. 




224 WOODCUTS. 

Cross is a heap of small stones, on the front one of which is the mark of the de- 
signer, as given in Nagler's " Monogrammisten," vol. iii. p. 1 53 number 501 . The 
background is a piece of barren hilly landscape, through which runs a road. 

This print has been both coloured and illuminated. It has been worked off 
on thin vellum, which at a late period has been lined with paper to keep the vellum 
flat. A double border line encloses the composition. 

The background, from the landscape to the top of the print, has been first 
painted red and afterwards illuminated with a thin layer of gold. On this ajrain, 
an ornamental or arabesque-like ennoriation has been worked out with more gold. 

The mantle of the Virgin is of opaque blue colour; head-covering and tunic 
opaque white, now having a slight violet tinge. The like may be stated of the loin 
cloth of our Lord. The mantle of St. John is red; his tunic is of a green colour. 
The landscape, with the exception of the roadway and the immediate foreground, 
is green. The latter have been left plain or of the ground of the vellum. The 
border has been coloured bright blue. 

It would seem that the colourist while performing his proper duty, thought fit 
to go over and strengthen certain parts of the impression with the dark colour 
that he applied to the hair of the Crucified and perspective edges of the Cross. 

According to Nagler (op. cit.) this " Christ on the Cross " decorates the title 
of a " Missale Romanum. Babebergse, Johannes Sensenschmid. 1487." The 
present illuminated impression on vellum probably faced the " Te igitur " of the 
Canon of the Mass of some sumptuous copy of the Missal in question. 

[10|- X 6} in.] [Coloured.] 

D. 36. 
CHRIST ON THE CROSS. 

SIXTEENTH CENTURY. 
GERMANY. 

'N the middle of the design stands a tau Cross, on which is the Saviour. 
Life has ceased, the head falls on the right shoulder, over it is a cru- 
ciform nimbus. The ends of a long loin cloth nutter in the air. Blood 
streams from the wounds in the hands and feet, from the chest and 
from the brow. The hair of the head is dark and heavy, and fulls upon the 
shoulders. The feet are crossed ; a suppedaneum is not present. The figure of 
Christ is thin and meagre. Above the Cross is a scroll, on which are the letters 

i-N-R-r 

On the right hand side of the Cross stands the Virgin, clad in mantle, tunic, 
and head-cloth. She raises the end of the latter to her face with her right hand 
to wipe away her tears. Her head inclines over her right shoulder ; she bears a 
large circular nimbus. Her left hand is brought forward in front ; the feet are 
hidden by the mantle. 

St. John a distorted figure stands on the other side. He looks up at Christ 
with an expression of inquisitive anxiety. He raises his hands before his die -t, 
and stretches out his legs in a ridiculous manner. He is clad in mantle and tunic, 
and bears a large circular nimbus. The tunic permits his bare feet to be shown. 
In the foreground lie a skull and some bones. The scene is a slightly hilly land- 
scape traversed by a road. A narrow border line encloses the composition. 

The print has been heavily coloured and illuminated as far as relates to the 
nimbi. The latter have gold discs and red borders. The drapery of the Virgin 
is of blue and white, the mantle being lined with madder red colour. The head- 





CUBIST ON THE CROSS. 225 

cloth has been left uncoloured. The mantle of St. John is red, his tunic yellow. The 
loin cloth of the Crucified is blue in the shadows, and of very faint light red in other 
parts. The body of Christ has received a wash of light red, the blood drops have 
been put in with rose madder ; the thorn-wreath is of a dirty-green colour, the 
hair of the head deep brown. The wood of the Cross is of a brownish-yellow, the 
perspective edges of the transverse beam and the veins of the wood being coloured 
of a deeper hue. The tablet has been left plain. The landscape is green, the 
roadways are of a light red colour. The narrow border line has had an outer broad 
band of deep red colour added to it. The sky is of a deep azure blue, as low down 
as the level of the chest of the Saviour. 

With the exception of the figure of the Virgin the design is of a mediocre 
character, and of her the left hand is bad enough. The feet of St. John are very 
bad, as are also the upper and lower extremities of our Lord. 

The impression is on vellnm. 

[9 x 6$ in.] [Coloured.] 

D.37- 

CHRIST ON THE CROSS. 

BEGINNING OF THE SIXTEENTH CENTURY. 
GERMANY. 

the middle of the sheet is a design representing Christ on the Cross, 
with the Virgin on the right hand side, St. John on the left, and Mary 
Magdalene at the foot of the Cross. 

Around this composition, which is 5j- inches high by 3 ; inches 
wide, is the text of four prayers or pious ejaculations. One " Oratio " of five lines 
is at the top ; another of seventeen lines in a column on our left ; a third " Oratio " 
of seventeen lines is in a column on our right, and a fourth of four lines is at the 
bottom. Below the latter is the address "3Ioanne0 Surti* 2Dber0pacJ f obtulit," 
in xylographic Gothic characters. 

At the angles of the sheet are the emblematic figures of the four Evangelists. 
Our Lord is on a tau Cross in the middle of the pictorial design. He is stretched 
straight out upon it, and the head is scarcely thrown over the shoulder, as is usually 
the case. A narrow, close-fitting loin cloth is present, the end being passed between 
the thighs, and flying out behind the left thigh of the Crucified. The feet are 
<!, a suppedaneum is absent. A cruciform and bordered nimbus encircles 
the head, around the brow being a large wreath of thorns. Our Lord seems to 
look down on His mother, who stands on the right hand side of the Cross. She is 
draped in head-cloth, mantle and tunic ; a nimbus with a rayed disc is over the 
head. The right hand supports some folds of the mantle, the left is placed on the 
chest. She looks towards her Son. On the other side stands St. John holding 
the book of the Gospel in his hands. He is clad in mantle and tunic, the latter 
being short enough to expose the bare feet He bears a nimbus with a rayed disc, 
and looks downward towards the Magdalene, who kneels below and behind the 
Cross and encircles it with her arms below the feet of the Crucified. Some few 
short rays are above her head, which is turned around the right hand side of 
the Cross, as she gazes up at our Lord. 

At the top of the sheet are these five lines of xylographic text in sharp Gothic 
characters 

" an 3il>*flum Cbrictn Bominum 
nostrum tn cruce pen 

Dfntcm T ratio. 

3D IJhfcu elbriatr uiu0 r0t pirtioea crur. 
$10 nobio miflcrifl prccatonbu0 bontio Bui . ' 



226 WOODCUTS. 

On our left, in a column, is the following ejaculation 

. Sue maria Dolorc plena fcominuc in crucc tecu i corfcr Inter tnulierre 



brnruicta. Jam Dtocipulo rclicta bnufcictiw fruct 9 . ftancte crime fiJiuo tiiiia Una 
nofiter 



On the other side of the pictorial design is the following " Oratio " 

44 Joanm 2D Jominrc ctanorfiflta u 3 mater Domini ret 0ub cruce commiflsa. 
per te ^hncto crucifiro commi00u0 nr pcrocmam aft eterne gefcenne abroouo." 

At the bottom of the sheet are the following lines of text 

" 3D rucrm ftancta sTratio 
2D ciitjc Dicna &iiper omnia liflna facnigna 
vTu me con0igna i-Bonar ne morte maligna. 

Jhccti ^-Haric Joanni. 
Toannco Curti 1 2Dbcr0pact)i s 2DbtuItt." 

The emblem of St. John is at our upper led hand angle of the print, that of 
St. Mark at the lower one. On the opposite side above is the emblem of St. Mat- 
thew, below that of St. Luke. 

A narrow border line encloses the whole composition. 

[9J x 6 r in -l [Uncoloured.] 



D. 38. 
CHRIST ON THE CROSS. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

| UR Lord is extended on a tau Cross in the middle of the composition 
Life has departed, the head is inclined over the right shoulder, the 
body sinks down, the feet are crossed, there is not any suppedaneum. 
A wreath of thorns is around the brow, a cruciform nimbus is over 
the head. On the right hand side of the Cross stands the Virgin Mother, enveloped 
in mantle and head-dress. A narrow nimbus is over the head. The hands are 
raised together before the chest, she looks towards her Son. On the other side is 
St. John in a long mantle which hides the feet. He raises the joined hands before 
his chest and looks towards Christ. A nimbus is around his head. 

Colour has been resorted to. The Cross, nimbus aud loin cloth are of 
yellow hue, the mantle of the Virgin is dark slate grey, that of St. John is of a 
madder red tint. The foreground is green. A border line encloses the compo- 
sition. 

[3r X 2f in.] [Coloured.] 





A "PI ETA." 227 

D. 39- 
A "PIETA." 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

>N the middle of the composition sits the Mother of our Lord with the 
body of her crucified Son extended upon her knees. In action she is 
directed towards our right. She is draped in a very Urge mantle, 
tunic and head-cloth. Over the head is a nimbus. She crosses her 
hands over her chest and looks downward on her Son. The body of the latter 
lies obliquely across her lap, the head being to our right and over the Virgin's left 
knee. A somewhat decorative cruciform nimbus is over the head ; a wreath of 
thorns is around the brow ; the hair, which is black and dense, falls on the shoulders. 
A narrow loin cloth is present ; large drops of blood mark various portions of the 
body. The figure of our Lord is extremely thin and meagre, and the expression 
aged in character. 

Behind the Virgin rises a short tau Cross, on the transverse limb of which 
hang certain instruments of the Passion. A scourge, reed and sponge are to our 
left, a lance and rod to the right. Above the transverse beam in the centre is a 
small scroll on which are the letters INRI. The landscape is somewhat rocky ; 
a few plants are on the foreground. A black border encloses the design. 

Colour has been applied. The Cross, nimbus and loin cloth of the Crucified, 
part of the landscape and instruments of the Passion are yellow, the mantle of the 
Holy Mother greyish-brown, her nimbus and tunic madder red. The rod and 
herbage are of a green colour. The background above the landscape is plain. 

The print is of mediocre character, and presents some of the characteristics of 
an impression from a metal plate. The paper on which the pale impression haa 
been worked off has very strongly marked wire lines. 

[7f X 5j-in.] [Coloured.] 

D. 40. 

A "PIETA." 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
AUGSBURG OR ULM. 

JN a low seat or throne sits the Holy Mother, having the dead body of 
her Son extended on her knees. She is directed in action towards our 
left hand, bending forward her body over that of the Crucified. She is 

draped in a large mantle which passes over the head and falls below on 

the pedestal of the throne. A small portion of tunic is visible over the chest and 
below on the ground. An ornamental border may be observed on the mantle, 
and parts of the lining are displayed. The body of the Crucified Saviour is of 
thin and elongated form anl han^s down at the knees. The upper part is sup- 
ported at the neck by the Virgin's right hand, while her left liaml li-> nvi-r the left 
arm of her Son ; the head of the latter hangs back on our left hand, the arms are 
crossed just above the wrists, over the lower part of the abdomen. The ends of 




228 WOODCUTS. 

the loin cloth are thrown over the thighs and hang down behind. A cruciform 
nimbus is present, a narrow wreath of thorns is around the brow, from beneath 
which comes blood. From the wound in the right side of the chest blood streams 
down the body and along the left leg to the ground. Behind the ornamental 
back of the seat rises a short tau Cross, on the transverse beam of which hang 
certain instruments of the Passion. On our left hangs a rod, on the right a 
scourge with large and spiked knots marked with blood. These instruments hang 
by a cord from the large nail-heads, which remain in their original position. Four 
iron fastenings are represented at the top of the upright limb of the Cross, above 
which is a long scroll on which are the letters I R * N I 

The foreground is carried up to a level with the middle of the throne, it is 
represented as if grassy. Above, the background is marked with streaks of dingy 
blue representing a sky ; these streaks are very faint low down, and deep in tone 
higher up near the border line of the print. 

Colour has been used in a somewhat heavy and coarse manner, and the nail- 
heads, nimbi and border have been illuminated with inferior metal, now become 
oxidated and black. The linen of Christ's loin cloth is blue, that of the Virgin's 
mantle green. A deep red border has been added outside the broad and (now 
black) illuminated one. 

[7f x 5'T m - including red border.] [Coloured.] 

D. 41. 

CHRIST APPEARING TO MARY MAGDALENE 
AS A GARDENER. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

[N our right hand stands Christ, looking down towards the Magdalene, 
who kneels on the left. Our Lord bears a large cruciform nimbus, and 
is draped in a loose mantle only, which permits the wounds in the right 
side of the chest and in the feet to be seen. From these wounds run 
blood, as it does likewise from the right hand which our Lord raises over the head 
of the Magdalene as she is about to touch Him. Christ holds in the left hand a 
pade, the handle of which is prolonged upwards as the stem of an ornamental 
Cross, from wliich streams the banner of victory over the head of Christ, floating 
with three long ends towards our left hand. 

The kneeling Magdalene bears a nimbus, is draped in mantle and tunic, and 
raises her hands as if to touch our Lord. A large vase is on the ground between 
her and Christ's right leg. Behind and to the left of the Magdalene is a small 
hill on which is a tree, the foliage of which leans over towards the right. I let wren 
this foliage and the ends of the banner of victory runs a scroll, left quite plain. 
The foreground is grassy. A double border line encloses the composition. 

Colour has been resorted to after the mauner of Augsburg and Ulm. The 
mantles of Christ and of the Magdalene are of rose madder ; the nimbi, vase of 
ointment, spade, Cross and tree stem are yellow, the ground and foliage green. 
The tunic of the Magdalene is of a light greenish-black hue. 

We are inclined to think that the design of this cut must have been taken 
originally from a miniature or painting in a MS. in which the Byzantine feeling for 
Art had considerable sway. 

[5r x 3jin-] [Coloured.] 





THE LAST JUDGMENT. 229 

D. 42. 
THE LAST JUDGMENT. 

SECOND HALF OF THE FIFTEENTH CENTUUY 

ULM (?). 
(No. 137, WBIGEI,.) 

[N the middle of the upper half of the composition the Saviour sits on 
a rainbow with His feet resting on the earth as a globe, which appears 
as if on the summit of a hill. He bears a cruciform nimbus. From 
Christ's mouth proceeds on our left hand side a lily, from it on our 
right runs a straight sword. The hair is thick and close and falls on the shoulders. 
The Saviour's arms are extended, the hands open, the fingers of the right hand 
being as in the act of benediction. By these actions the mantle becomes opened 
over the chest, exposing the unclothed body and arms, and also its own lining. 
The mantle covers the rest of the body, with the exception of the feet, the left 
foot being more advanced than the other one. Kneeling on the right side of 
Christ is the Blessed Virgin in mantle, tunic and head-cloth. She bears a nimbus 
with a rayed disc ; her hands are joined before the chest as if in prayer as she 
looks upwards towards her glorified Son. On the other side, at the summit of the 
hill, kneels St. Joseph in mantle and tunic, and bearing a simple circular nimbus. 
The hair of his head is dense and close set, as is also the beard. He raises the 
hands before the chest and looks upwards at Christ. The mantle is long and with 
many folds resting on the surface of the hill. 

At each of the upper corners above the heads of the Virgin and Joseph is an 
angel blowing a long narrow horn or trumpet, which passes down between Christ 
and the heads of the kneeling figures. The wings of the angel above the Virgin 
meet the upper border line of the print ; the wings of the other angel touch both 
the upper and lateral border. The earth or globe on which the feet of Christ rest, 
is coarsely marked out in patches of land and water. 

Below, and at the base of the elevation on which these figures are placed, 
the dead rise from their graves. A crowd of the risen wait on our left hand to 
pass through the gates of Paradise, by which stands St. Peter with the key. On 
the opposite side a number are being driven into Hell, here represented by the 
enormous open jaws of a dragon. In the middle of the lower division of the com- 
position a demon is carrying on his back an unwilling recipient of his deserts, towards 
the mouth of Hell, while another demon appears as if belabouring him with a club 
as he is carried to his doom. A narrow border encloses the composition. 

Both design and execution of this piece are of an inferior character. The 
countenances of Christ and of St. Joseph are very bad. The figure of the Virgin it 
better, and the expression of St. Peter is noteworthy as he appears considering 
the rights of the anxious applications for admission to the favoured quarter, 
evidently being made by those approaching him. 

Colour has been heavily and coarsely applied, chiefly as madder rod, raw umber, 
green, and a dirty yellow. The ink of impression is of a light brown water-colour, 
like that of the block books. 

A former possessor has written on the face of the print. Above the head of 
Christ is in cursive German characters, " Jungstag ist komen." Below, " yir (?) 
dixit pax . 

Between the angel on our left hand and Christ arc the word*, Her- lil.ri (?) 
on the other side arc perhaps, jato-- ponseimor. 




23 o WOODCUTS. 

Below the rainbow and in another handwriting are, on our right hand side, the 
words, Der gungstag ist komen. Below, in older writing, l8qq (?). Other 
words are present but are not decipherable. 

This print appears to have been the work of some "Karten" or "Brieftnaler," 
at Ulm, about the latter third of the fifteenth century. It is now in very bad 
condition, having suffered much. 

A watermark is not present. 

[lOf X 7f in.] [Coloured.] 

D. 43- 
THE LAST JUDGMENT. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

COMPARATIVELY modern (A.D. 1808) impression of an old wood 
block, engraved probably during the last quarter of the fifteenth or 
the beginning of the sixteenth century. 

It represents Christ Judging the World. He is seated on the 
outer circle of the rainbow, with the feet resting on the inner or lower one. 
His arms are extended, the palms of the hands open, showing their wounds. By 
this action the large mantle is opened in front, exhibiting the undraped body of 
our Lord. The wound on the right side of the chest is visible, as are the wounds 
on the spread-out and naked feet. Above the head is a large cruciform nimbus 
with double border and rayed disc. From near the angle of the mouth on our left 
hand side extends outwards and upwards a large lily branch, on the opposite side 
runs a straight two-edged pointed sword. The hair of the head is long and falls 
on the shoulders. The beard is close and formal. 

On each side of Christ is part of a circle of adoring saints bearing nimbi with 
rayed discs, and springing as it were from out a line of clouds immediately 
above the outer circle of the rainbow. At our upper left hand corner of the print 
is an angel descending with the Cross ; at the other corner is an angel holding in 
one hand the wreath of thorns, in the other a rod and scourge. 

Below the inner circle of the rainbow and on the summit of the earth's ele- 
vation kneels the Virgin on our left hand side i.e. on the right hand of her Son. 
She is draped in mantle and tunic, and bears a coronet on her head, above which 
is a nimbus with rayed disc. Her hair is very long and flows down her back ; her 
hands are raised together before her chest as if in prayerful intercession for those 
below. Opposite to her, and looking towards her and the feet of Christ, kneels 
John the Baptist, bearing a nimbus with rayed disc. His mantle is open in front, 
displaying the hairy vestment beneath. The feet are exposed and bare, a small 
part of the hairy tunic appearing above the left ankle. The hands are brought 
together and raised in front of the chest. In a space between these kneeling 
figures and below the inner circle of the bow descends an angel bearing the column 
and cord of flagellation on the right arm, the sponge and lance in the left hand. 
In another space to the left of the kneeling Virgin descends an angel blowing a 
long curved trumpet, below which is a scroll having on it the words 

" fcurette mortua." 

Within a like space behind the Baptist is another angel blowing a trumpet, on * 
scroll beneath which may be read, ** (Henite aU jufcicium." 

Hrlow rise the dead from their graves. On our left is a group of the righteous 
l.i ing conducted by St. Peter and an attendant angel to the abodes of bliss. Angels 



THE LAST JUDGMENT. 231 

assist others of the happy to emerge from their tombs. On our right hand are 
numbers of the wicked received by demons as they rise from the ground to be 
hurried within the jaws of Hell, gaping at the lower angle of the print. 

Immediately above the flaming mouth of Hell may be seen the holy souls in 
Purgatory gazing anxiously out of the barred windows of their prison. At the 
lower part of the print runs a margin or border on which are the following words 
in sharp Gothic characters, white on a black ground, viz. 

" Dies ilia Hie ice . Dies calamitar 8 rt miacric . Die0 macna rt amara baftr." 

Impressions of this print were originally published in the year 1 808 in the 
first fasciculus of " Holzschnitte alter deutscher Meister in den Original-Flatten 
gesammelt von Hans Albrecht von Derschau begleitet mit eindr abhandlung, 
etc. etc. von Rudolph Zacharias Becker." Gotha, 1808. Plate A 1 1. and p. 25. 

We believe the block used in this instance to have been a genuine and not a 
factitious antique. The technic of some parts of the engraving is peculiar, 
and worthy of particular notice, as showing a resort to the tnann-re criblee, along 
with the ordinary process of engraving in relief on wood. The maniere criblee 
may be observed, e.g. in the mantle of Christ, and as (roulette work) in the mantle 
of John the Baptist The conventional form of the clouds from out of which rise 
the adoring saints above is common to the maniere criblee, as is also that of the 
marginal inscription below. 

A narrow border encloses the general composition. 

[15 X 10 tin.] [Uncoloured.] 



D. 44. 
CHRIST ENTHRONED ON THE RECTO, 

ST. JOHN ON THE VERSO. 

BEGINNING OF THE SIXTEENTH CENTURY. 
GERMANY. 

'HERE is a cut on each side of this sheet. 

On the recto is represented Christ sitting on a rainbow, en* 
closed within an elliptical aureola, formed by the further production of 
the bow on which He sits. The naked feet rest on a globe. A large 
cruciform nimbus is present ; the arms are raised, the palms of the hands open, 
exhibiting their wounds, from which streams blood, as it does also from the wound 
on the right side of the chest. 

By the action of the upper extremities the naked arms and trunk are exposed 
as the mantle flies open. The hair of the head is long, that of the beard short. The 
expression given to the countenance is marked and peculiar, from the great frontal 
development. The chest and abdomen are very meagre. Outside the glory of our 
Lord is a crowd of adoring saints, each having a coronet on his head, and wearing 
a garment with loose sleeves and girded at the waist. These saints are twenty- 
four in number. Of the lowermost figures, more than half their bodies can be seen ; 
of the others, but little more than their heads. 

Tin- design, T lum here apparently intended to illustrate the second, third, and 
fourth verses of the fourth chapter of the Apocalypse, but the mlonrist has some- 
what interfered with the correctness of thr representation. 




232 



WOODCUTS. 



" Et ecce series posita erat in coelo, et supra sedem sedens, et qui sedebat 
similis erat aspectui lapidis jaspidis et sardinis, et iris erat in circuitu sedis similis 
risioni smaragdinae et in circuitu sedis sedilia vigintiquatuor ; et super thronos 
vigintiquatuor seniores sedentes circumamicti vestimentis albis et in capitibus 
eorum corona aureae." (Apocalypsis, cap. iiii. 4.) 

Strong colour has been resorted to after the systems of the Schools of Ulm and 
Augsburg. 

The nimbus of Christ, part of the aureole, the coronet* of the elders and some 
of their vestments are yellow ; the hair of our Lord and the cruciform divisions of 
the nimbus are deep brown ; the mantle and gome of the dresses of the elders are 
of madder red, as is also the outer border of the elliptic glory. The lining of 
Christ's mantle is bright green, as are likewise the innermost border of the glory 
and some of the dresses of the saints. The outer division of the double border 
which encloses the design has been coloured bright yellow. The lining of Christ's 
mantle is green. 

[7f * 4f in.] [Coloured.] 

On the verso is St. John, standing beneath a rounded archway, supported by 
two columns. St. John advances towards our right. He is clad in mantle and 
tunic, bears a nimbus with an ornamental border, supports an eagle with nimbus 
on his left hand, and holds a book in the right one. He looks upwards towards 
heaven, is beardless, with light curling hair and the attributes of the youthful 
apostle. 

The colouring has been richly and carefully carried out. The nimbi, lining of 
the mantle of St. John, and parts of the arch and spandrels are of a deep yellow 
colour. The mantle is of a rich madder red ; the ground, cover of the book, and 
panels of the spandrels are green. In the architecture of the arch a delicate rose 
colour may be seen. The outer portion of the double border which is here present 
has been coloured bright yellow. 

[7| x 4f in -] [Coloured.] 



D. 45- 
CHRIST BROUGHT BEFORE CAIAPHAS. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

I AT AP HAS, wearing a plain mitre, is seated on a bench at the right hand 
corner of the print. He raises his right hand, and points with the index 
finger of the left, as if expounding the law. He is draped in a long 
loose robe and tunic. Before him stands Christ, with the hands crossed 
and bound in front, and having an attendant on each side. A cruciform nimbus is 
over our Lord's head. He is clad in a long robe, from beneath which extend the 
bare feet One of the attendants points with the finger of the left hand towards 
Christ, as if directing the attention of Caiaphas to his prisoner. This attendant 
wears a high cap, close-fitting short tunic, and tight hose. The other attendant 
is seen in profile, but half the body is cut off by the border line of the engraving. 
His shoes are long-pointed; his head is uncovered. He appears to hold Christ by 
the waist with his right hand. 

Though the head of Christ ia proportionately too large, and the countenance 
but mediocre, the rest of the drawing is satisfactory, and the technic clean. 





CHRIST BROUGHT BEFORE CAIAPHA8. 233 

Colour has been resorted to. The nimbus, cap of the attendant and part of 
the ground are green ; the draperies a warm light brown, our Lord's face and the 
attendant's hose red. 

[2 x 1 f in.] [Coloured.] 

D. 46. 
THREE CUTS FROM A "PASSION" SERIES. 

SIXTEENTH CENTURY. 

GERMANY. 

A. 

" Ecce Homo," treated in a devotional manner. 

The half figure of our Lord is seen as if through a window of 
architectural character. The head is very slightly inclined over the 
right shoulder, and the hands are brought forward in front, and 
secured above the wrists. A radiant glory in around our Lord's head, on which 
latter is a wreath of thorns ; the hair is wavy, and falls on the shoulders. The 
beard is small, and forked at the chin. A vestment is thrown over the shoulders, 
which is quite open in front, showing the undraped body, marked with bleeding 
wounds from flagellation. Christ holds up the palm branch of martyrdom in the 
right hand. Above, on each side, is a scroll. On one scroll is the word " Jesus ;" 
on the other, " Christus." Below, in a plain margin or border, forming the sill of 
the opening through which our Lord appears, are the words . (ffcce bomo. 

Ji. Christ accompanied by the instruments of His Passion. 

Our Lord stands erect beneath a rich Gothic canopy, supporting a large cross 
with His left arm, and a lance with the right. A cruciform nimbus, bordered and 
with rayed disc, is around the head, the hair of which falls over the shoulders. The 
body is naked, with the exception of the loin cloth present. The wounds on the 
hands and feet are exhibited, as is also the wound of the right side. On that part 
of the transverse beam of the Cross which is immediately over Christ's head is 
placed a cup. To our left, below the Gothic canopy, are the column, rope, scourge 
and cock, rod, nails, thorn wreath and open hand. On the other side are the nails, 
forceps, lanthorn, garments, reed and sponge. &c. 

A black border line encloses the composition. 

C. The Trinity. 

On a throne-like chair within a room sits God the Father. A plain bordered 
nimbus is over the head, which bears a crown, with a small crocs on its rounded 
top. He is draped in a cope-like vestment. On his breast is the Dove or IIulv 
Spirit, with minims, and surrounded by a general circular aureola. The Son lies 
obliquely across the Father's knees, with the arms extended and drooping, the 
body bent at the knees, the feet resting on the ground at the front and curved 
portion of the base of the throne. A plain bordered nimbus is over the head, 
which latter seems to be supported by the right arm of God the Father. Part of 
a window is visible on each side beneath the urch, as are also the capitals of the 
lateral and supporting columns, the shafts of which have not been properly 
defined. 

Then- is a hi^li and ornamented li:ick to the tlironc ; tlie ^ronn'i is of pave- 
ment, the stones of which run back perspcctively to a point of sight. At the 



234 WOODCUTS. 

lowermost part of the print is a broad margin or border, on which are the words, 
in xylographic characters 

" >ancta trinttae unus Deus ftlicererc nofaio." 

A black border line encloses the composition. There is a smaller double border 
to the lower margin of inscription. 

These cuts had faint colour originally applied to them. They have been since 
washed by some dealer probably, and now but few traces of it remain. 

[4 x 2J- in.] [Uncoloured.] 



D. 47- 
CHRIST ON A TAU AS A CROSS. 

FIRST QUARTER OF THE SIXTEENTH CENTURY. 
BAVARIA. 

I HRIST is extended, crucified on a large tea, serving as a Cross. The 
body is slightly inclined towards our left hand, and the head is thrown 
slightly over the right shoulder. A cruciform and bordered nimbus is 
present, as is also a suppedaneum, the legs being crossed. The loin 
cloth is close fitting. A wreath of thorns encircles the brow ; the hair falls in 
curls on the shoulders. The fingers seem to grasp the nails convulsively ; a large 
nail transfixes each foot. Above Christ's head is a tablet, on which arc the letters 
I . N . R 4 . 1, the first two letters being half hidden by the intruding nimbus. The 
limbs of the tan are curved and acuminated at their extremities. A rather broad 
border runs along the edges of the tau. Above the tan is a border ths of an inch 
wide, within which are the following words in xylographic characters of large 
Gothic form 

" bau cup bo0 poote0 0icnato0 retreat bo0re0." 

Below, in a space rather more than 3^ inches wide, are thirteen lines of in- 
scription in typographic text. The first two lines are as follows 

44 Dao i0t Da0 jaieben bau Da0 cor Her he rr fttopm in Her toii0te cab Dae Da0 
toolcfc nit orurh an Der pectilcnn. ClnD too Da0 jatcbcn in cincm bau00 nit toao Do 
fltarb Daa bolcfe allc0." 

Then follows in Greek, Latin, and German 




. orbcoa. acpo0. p0cbpro0. acpoc. arbanaro0, clepcon, pma0. 
DCUB. ftanctu0 forno. feanctuo ft immortalic mi0eirte nobi0 3D bailtecr cot. 3D 
0rarc6crcot. 3D untoDtticbfp cot. liatmbcrtjicct br0cbirmtr bcrr Jtau bn0te bcbut 
uric toot Dem rtoicrn ton. tint) macb un0 0elio Burcb Ueinen o-rbeneucireu namen Jeou." 

Next follows the " Oratio " 



queoumuo Dcmme super bane famiha tuam pro qua Dommu0 noster 
3e0u0 chnctuo non DubitaDit in nunuo traDi nocentum rr cruci0 oubirc tormentum* 
C.ui trcum bioit rt rronat Dru0 ];>er omnia cecula eeculorum. 9men. 

9) fierr rmt bitten Uicb Du toelleot anocben t)i0f0 in bau00or0mD, fiir Dae unncer 
brrr Tcfltio cbnctiic nit cc^roeKelt bat, cicb ;uoeben in Die bent tier 0cbulDicen uriD 
?uo on an Die pern Dro Ciciixs, Der Da mit Dir (ebt unD reontcrt, cor, immcr 
amen." 



CHRIST ON A TAU. 235 

Information is then given that 

" CClcr Disc figur antircbtiG&licb aneicbt mit reto unD Iain acinrr ou'nD, unD bat 
ain fiircan can lebtn >ii be00eren, unD oprufat Die ?tocp eebeet Catcmicctj ofcrr 
9eiir0ci) uti Brer fl-Jater nootcr unD trcii aue maria, Dei bailiccn Diinaltic&ait, Der coll 
in fester boUming 0epn, Da0 ei unD Die mcnocbcn De00rtben bau00 Den tao toor Der 
jpe0tilent? befciit 0epen." 

A black border line encloses the composition. 

The print has been coloured powerfully and carefully. The upper border of 
inscription, nimbus, border of the tau and suppedaneum are yellow. The wreath 
of thorns is green, the hair of the head light brown, and here and there a little 
light red marks the body of the Crucified. The general surface of the tau in of a 
deep madder red, over which has been applied a layer of gummy varnish. The 
drawing of the figure is generally coarse and heavy, as is also the technic. 

Some remarks on the symbol of the tau may be found further on in connection 
with a print of the martyrdom of St. Sebastian [D. 93, 1 and 2] ; the "Athenaeum" 
of January 27, 1877, No. 2570, may be consulted likewise in reference to the 
present example, D. 47. 

[13$. x loin.] [Coloured.] 

D. 48. 

THE SACRED CIPHER IN A MEDALLION, 
WITH CHRIST ON THE CROSS. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

ULM. 
(No. 96, WEIOEL.) 

|N a bright central circular disc 2f inches in diameter are the letters 
E b (Jhesus = Jesus Hominum Salvator ') in Gothic characters ; 
around this disc is a narrow border and a broader radiant glory Jths of 
an inch wide. These are encircled by three other borders, together 
Y inch wide. Outside of these is a broad circle of inscription with two narrow 
circles beyond. The entire medallion thus formed is 6J. inches in diameter. Within 
the circle of inscription are the following words in the Gothic initials not uncommon 
during the fourteenth century 

44 3ln nomine 3!f;e0u omne cenu Bectator cele0rium tetfae0trium et infemorum." 
Rising up from the three membered border around the radiant glory of the medal- 
lion and reaching nearly to the top of the print is a Cross on which is the Crucified. 
Our Lord is dead, the head droops on the right shoulder, the hands and feet are 
relaxed and blood streams from various wounds of the body. The loin cloth U 
close-fitting, the feet are crossed, a suppedaneum is not present. The nimbus U 
large and cruciform, and on the Cross above it is the label of inscription, i n t i. 
( hi the left (to the spectator) of the Cross is an emblem of the sun, on the right U 
one of the moon. Below these emblems are two broad lines of inscription running 
across the entire breadth of the print, but divided by the Cross. On our left of 
the latter are the words 

autcm trancicnc per mrDium ilforu ibat." 
1 Antea, p. 155, C. 1O. 




236 WOODCUTS. 

On the right hand are 

" fti ergo me quacritis ainite, tyoa abirt." (Julian : xviii. 8.) 

Lowerdown, and serving as ornamental appendages to the medallion, are the em- 
blematic figures of the four Evangelists in large effigies. The upper two of the circle 
are St. Matthew and St. John, the lower St. Mark and St. Luke. Over the head of 
each figure is a nimbus, and proceeding from each figure a scroll, on which is the 
name of the Evangelist represented. 

A black border line encloses the composition. 

The print has been coloured. The foreground and wreath of thorns are green, 
the drapery of the angel of St. Matthew, the wings of the lion of St. Mark and of 
the bull of St. Luke are madder red. The central letter of the cipher and the 
border of the radiant glory of the medallion are also madder red. The emblems 
of the sun and moon, nimbi, first and third letters of the cipher, glory and circle of 
inscription are yellow. The eagle of St. John, and some other portions, are of 
greyish-black of various shades. 

The hair of the Crucified and the streams of blood on the body are strongly 
marked. 

[10 1 X 7iin.] [Coloured.] 

D. 48, 2. 

THE SACRED CIPHER IN A MEDALLION, 
WITH CHRIST ON THE CROSS. 

COPY of the previously described print, D. 48. Here the various 
nimbi have had borders added to them ; the letters of the sacred cipher 
have been shaded in parts, and the errors of the inscription in the me- 
dallion corrected, i.e. the o in Jin-tut. >r has been made u, and the b 
in terbestrium made r. 

Wcigel possessed an impression of this copy, and he remarks of it that it was 
probably from a metal engraving in relief. He states also that in the Munich 
collection this medallion may be seen without the crucifix, but with the inscrip- 
tion, " Nit schwer noch fluch bey de name gottes wan alle knie sullen sich gege 
ihm biege J-." 

[lof- x 7$ in.] [Uncoloured.] 

.:' D. 48,3. 

THE SACRED CIPHER IN A MEDALLION, 
WITH CHRIST ON THE CROSS. 

COPY of D. 48, 2. The impression is apparently from a photo- 
lithograph or some analogous technic. 

7-{ in.] [Uncoloured.] 






INSTRUMENTS OF THE "PASSION:' 237 

D. 49- 

A SKULL SURROUNDED BY THE INSTRU- 
MENTS OF THE "PASSION." 

SIXTEENTH CENTURY. 
GERMANY. 

&ITHIN a circle which has a diameter of 4|- inches is a human 
skull. This circle is surrounded by another one, lths of an inch 
wide. The whole medallion is contained within a square 8|- inches 
high by 8 inches wide. The outer circle surrounding the skull is 
divided into twelve compartments, converging towards the centre of the medallion. 
In each compartment is represented an instrument of the Passion. 

In the uppermost is a tau Cross, to our right of that is the wreath of thorns, 
next to this is a large rod, then follow the reed and sponge, the three dice, the 
hammer, a hand holding a bag or purse being in the lowermost division. To the 
left of the latter is the pair of forceps, beyond that are the thirty pieces of silver ; 
above is a spear head, then a scourge, finally and completing the circle the three 
nails. 

Within the spandrels formed by the outer circle and square are emblems of 
the sun and moon in the upper part, and an hour glass and crowing cock at the 
low angles. 

In the margin above the upper line of the square is inscribed in large Gothic 
typographic characters 

" fflon jtoeiertep ffiengcljcn fttcrben." 

Below the square are two columns of poetry of sixteen lines in each column. 
The column on our left contains the address of " Der hymlisch mensch " to Death, 
and begins with " O Tode wie lieblichen du bist." The opposite column is the 
apostrophe of " Der irdisch mensch," beginning with the line " O Tode wie 
erschrucklich du lust." 

At the lower part of the division separating these texts is a small cut repre- 
senting Death riding behind a man on the same horse. 

Below and at the bottom of the print is the following text in two lines 

" 3D <?ot 6ur? flint) Die tag Dec mcnccbcn unU Die ?al 0cintr fiilonat iot be p Dir, 
Du ftact im geeetjt can jH. Die ntcht m tie in ubrrgangrn toerDen." Hiob. 14. 

Hector Sohoflcr. 

The paper has a small bull's head for watermark. 
[>3 x 9Jin.] [Uncoloured.] 



238 WOODCUTS, 

D. 50. 
SCENES FROM THE LIFE OF CHRIST. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 




sheets containing twenty-eight illustrations of which some are 
only duplicates of the Life of Christ. On Sheet 1 are eight designs, 
both on the recto and verso of the sheet. These designs are arranged 
in two rows of four cuts each row, on each side of the sheet. On the 
recto of sheet l , commencing at the left hand of the lower series, is represented 
the Descent into Limbus ; Christ before Pilate ; Christ on the Cross ; The 
Deposition. 

In the upper row is Christ in Judgment, the Judas Kiss, the Crowning with 
Thorns and the Resurrection. On the verso on the lower row we have Christ 
appearing to Mary Magdalene ; the Flagellation ; Christ before Herod and the 
Ascension. 

On the upper row are a " Pieta ;" the Nailing to the Cross ; the Bearing the 
Cross ; and the Entombment. 

On Sheet 2 are six cuts only on recto and rerso. On the recto, lower row, are 
the Incredulity of St. Thomas ; the Ascension and the Resurrection. In the 
upper row are the Descent into Limbus, Pentecost, and Christ in Judgment. 

In the lower row of the verso are Christ appearing to Mary Magdalene ; the 
Incredulity of St. Thomas and the Ascension. In the upper row are the 
Pentecost ; Christ in Judgment and the Entombment. 

With very few exceptions the forms only are indicated, whether as regards 
figures or drapery. Here and there some shadow is marked, and also the hair of 
some of the heads ; our Lord's is always deep black, as are the pointed shoes of 
several of the figures. In the cut illustrating " Christ in Judgment, 1 ' both lily 
and sword radiate from the head. The proportions of many of the figures are 
bad, the heads being too large for the bodies. 

[2 x 2J- in.] [Uncoloured.] 

D. 5 i. 

THE ANGELIC SALUTATION, OR ANNUN- 
CIATION. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

I N the left hand within a room kneels the Virgin before a desk with her 
hands raised and joined together in front of her. She looks meekly 
downwards, a nimbus is over her head, and her long fair hair falls down 
her back. She is clad in mantle and tunic. A canopy is over the 
desk before which she kneels. 

On the right of the desk kneels the angel draped in a long mantle tied with a 




THE ANNUNCIATION. 239 

large bow at the neck. He has fair and curling hair, raises his left hand as if 
pointing with the index finger to the announcement on a scroll which springs from 
his right hand. This scroll is here devoid of the usual inscription, ** Ave gratia 
plena ; Dominus tecum Benedicta tii in mulu-bris." (Luc : i. 28.) 

In the background runs a semicircular seat along the wall from the desk to 
the right hand margin of the print. Above this seat are narrow circular arched 
windows. That portion of the ground on which the Virgin and desk are placed is 
slightly raised in the form of a broad but shallow step. On the outer edge of this 
at our right hand kneels the angel Gabriel. 

The folds of the mantles of both the figures are very well cast. The shadows 
are indicated by oblique parallel lines. There is not any cross-hatching. The print 
is coloured. The mantles are madder red, the Virgin's tunic of deep scarlet, the 
desk, canopy, and scroll are of pale yellow, and the ground and some other parts 
are of a green colour. The nimbus of the Virgin is of a light madder red. 

A broad border encloses the composition. This border has been coloured a 
deep scarlet. It has been cut away on two sides. 

[Originally, 4^ X 3f in.] [Coloured.] 

D. 52. 
THE VIRGIN AND CHILD IN GLORY. 

(Madonna in Gloria.) 

MIDDLE OF THE FIFTEENTH CENTURY. 
BAVARIA. 

' HE Blessed Virgin is raised above the earth and stands on the crescent 
moon. She holds in her arms the infant Saviour. In action she is 
slightly directed towards our right hand. A rich crown is upon her 
head, over which is a nimbus. The long fair hair falls in waves down 
the shoulders. She is draped in mantle and tunic, both falling in folds upon the 
crescent beneath her feet. She is surrounded by an oval aureole or radiant glory, 
which extends from the shoulders to near the feet. On her left arm she supports 
the infant Saviour by His back, and with the right hand gives support to the 
buttock. The infant Christ is quite naked, has a cruciform nimbus over the head, 
holds an apple in the right hand and gazes up at His Mother. At each angle of 
the cut is an angel playing on a musical instrument. These angels are draped in 
long mantles and look towards the central figure. The ground line is part of a 
large curve as if representing the convexity of the earth, above which the crescent 
inoon is supposed to be placed. The earth itself is marked with herbage. 

The drapery of the Virgin is admirably cast, and shows the influence of the 
Flemish Art Schools. The head of the Virgin is too large, however, and that of 
the infant Christ mediocre in character. The angels are but poor also. The 
technic is clear and incisive ; in very few places is any shadow indicated. 

The print has been coloured. The nimbi, aureole, hair, crescent and musical 
instrument are of a yellow colour; the ornaments of the crown and of the infant's 
nimbus are of red madder. The mantle of the Virgin is left plain or white (the 
paper ground) with a lining of red madder; tlu- tunic is of a light brown colour. 
Tin- draperies of the angels are of red madder colour. The ground is bright 
green. A border line encloses the composition. The ink of impression is of a 
pule brown water-colour like that of several of the Block Books. 

[7 x 4r in -l [Coloured.] 




240 



WOODCUTS. 




D. 53- 
THE VIRGIN AND CHILD. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

fN the middle stands the Virgin with crown and nimbus over the head, 
and surrounded by an oral radiant aureole. Her long hair waves over 
the shoulders. She is clad in mantle and tunic, the former being 
drawn close above the knees, from whence it opens and spreads, 
showing the tunic beneath. On her left arm the Holy Mother supports the infant 
Christ, and raises slightly her right hand, as if in testimony to the mysterious 
advent. The Saviour is undraped, has a cruciform nimbus, and raises both the 
hands as He looks up at his Mother. The foreground is a mere plane ; the back- 
ground has not any device on it. A black border line encloses the composition. 
The print has been coloured. 

The nimbus of Christ and the crown of the Virgin have been illuminated, but 
the metat has turned dark, and has partly disappeared. 

The hair of the Virgin and the rays of the aureola are yellow. The nimbus of 
the Virgin is of light rose, her mantle of deep rose madder ; the tunic is white , 
with a little blue in the shadows. The ground is green ; a sky is slightly indicated 
by a streak of colour. 

[3 X 2|in.] [Coloured.] 



D. 54- 
THE ASSUMPTION OF THE BLESSED VIRGIN. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

'HE Virgin rises above the earth, directed in action towards onr right 
hand. She bears a crown on her head, encircling which is a nimbus. 
A radiant aureole surrounds her body. She is draped in mantle and 
tunic, somewhat confounded together by the deep colour which has 
been applied to both. Her hands are raised and joined over the chest ; the long 
hair falls down the shoulders. 

At each side below kneels an angel, who supports the Virgin's drapery as she 
rises to Heaven. 

A slightly hilly portion of the convexity of the earth is indicated, and upon 
which the angels appear to kneel. A black border line encloses the composition. 

Colour has been resorted to. The mantle of the Virgin is of deep rose 
madder, the draperies of the angels are of very faint lake. The wings of the 
angels and the ground are green ; the nimbus, aureole and hair of the Virgin are 
yellow. 




[3J. X 2 Jin.] 



[Coloured.] 



TllK VIRGIN AND SAINT ANNA. 



24 1 




D. 55- 

THE VIRGIN AND INFANT CHRIST ON THE 
KNEES OF SAINT ANNA. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

BENEATH a Gothic canopy which rises over a low throne-like seat is 
seated St. Anna, bearing on her right knee the Blessed Virgin, and on 
her left one the infant Saviour. St. Anna, the mother of the Virgin, 
is a large and majestic figure, draped in head-cloth, mantle and tunic, 
the mantle flowing over the knees in many folds to the ground, and concealing the 
feet. The tunic is girded at the waist. A circular nimbus with an ornamented 
border is over her head. She looks straight at the spectator. On her right knee 
is seated the youthful Virgin, clad in a long robe having tight sleeves, and being 
girded at the waist with an ornamented zone. The robe is cut somewhat square 
at the neck, and by its lower folds indicates the forms of the lower extremities, 
though it falls much below the feet. The right arm of St. Anna passes round the 
waist of the Virgin, the hand appearing in front over the Virgin's right hip and 
behind her right hand. A large circular nimbus is over the Virgin's head, the hair 
of which in filleted curls is bound round the forehead with a narrow black ribbon. 

In action the Virgin is directed towards our right, or towards the infant Christ, 
who stands on St. Anna's left knee. St. Anna is offering with the left hand an 
apple-like fruit to the infant Saviour, who receives it with His right hand, the two 
hands meeting immediately over the waist girdle of St. Anna in front and centre 
of the chest. The infant Christ is undraped, but is shielded behind by some folds 
of the mantle of St. Anna. Over His head is a large cruciform ornamented nimbus 
with invected border. As He stands on St. Anna's left knee, she supports Him 
over the left hip with her left hand, which appears at His side. His right arm is 
extended towards the fruit held by the Virgin, while the left hand is raised in 
front to the level of the right shoulder. 

The canopy is pierced by two large and two small openings, and is divided 
above into three chief overhanging compartments, the centre one of which has 
a stellated roof. 

Colour has been freely applied. The mantle of St. Anna is of deep crimson 
madder, with a yellow lining. Portions of the ornamental Gothic canopy are also 
<>t' madder red. The disc of the nimbus of St. Anna is yellow, the jewelled border 
green. The head drapery is of a pale warm brown, the tunic of a deeper brown 
colour. 

The nimbus of the Virgin is yellow, with a black edge or border. Her hair it 
yellow, her long drapery green. The disc of Christ's nimbus is yellow, with pale 
rose-coloured cruciform divisions. The flesh parts are of a pale somewhat dirty 
light red, the lips of St. Anna being tinted with rose colour. The seat of the 
throne and parts of the canopy are yellow ; the stars of the latter are black, the 
columns and some other portions bcinjr of a light brownish-black colour. The 
whole is enclosed within a black border line. 

Dr. Waa^fii took particular imtice of this interesting example of early Art. 
llf remarks on it as follows 

4t A large folio print. Saint Anna with the Virgin and infant Saviour on her 
lap. The Virgin is {.'ivinj: the latter a fruit. The penthouse is of late (inline 
term. Tlii.- plate is remarkable for the ^rau'lcnr of the conception, for the excel- 



242 WOODCUTS. 

lent proportions (the hands are feebly drawn, however), for the rich and flowing 
drapery, and for the treatment which consists only in a powerful outline. Judging 
from the pale colour of the ink, it belongs to the early part of the liftvmth cen- 
tury ; it is illuminated. I should be inclined to concur with Mr. Carpenter that 
this print, which shows some affinity with English miniatures, was executed in 
England, were it not for the technical merit which renders such a supposition 
doubtful. For though there are reasons enough for the decline of painting in 
England from 1460 to 1500, still it is hardly possible that the mere technical 
execution of wood cutting should have become so uncertain and rude as it appears 
in so many dated English specimens of that period, had it ever attained such a 
development as this print exhibits. I am of opinion, therefore, that this plate is 
German, and perhaps belonging to the very end of the fourteenth century." 
(" Treasures of Art in Great Britain," vol. i. p. 288, Murray's Edition, 1854.) 

A reduced copy of this print was given by M. Ph. Berjeau in the second 
volume of the " Bibliophile Illustre," January, 1 865, p. 8, and the following in- 
scription based, we presume, on the opinion of the late Mr. Carpenter was 
placed at the bottom of it, viz. 

' Reduction d'unr gravure reputee unique du Cabinet des Estampes au 
Hi itMi-Musriim et attribute a un artiste anglais du XV siecle." 

Interesting as tlus example of early Art may be, we cannot consider it to have 
been of English origin, nor to belong even " to the very end of the fourteenth 
century." 

In connection with the introduction of St. Anna into paintings, Mrs. Jameson 
remarks 

" In early pictures, St. Anna, the mother of the Virgin, is very seldom intro- 
duced, because in such sublime and mysterious representations of the Verging Deo, 
whatever connected her with realities or with her earthly genealogy is suppressed. 
But from the middle of the fifteenth century, St. Anna became from the current 
legends of the history of the Virgin, an important Saint, and when introduced into 
the devotional groups, which however is seldom, it seems to have embarrassed the 
painters how to dispose of her. She could not well be placed below her daughter ; 

she could not be placed above her Where the Virgin is seated on the 

knees of St. Anna, it is a still later innovation. There is such a group in a pic- 
ture in the Louvre, after a famous cartoon by Leonardo Da Vinci. . . . there is also 
a fine print by Carraglio, in which the Virgin and Child are sustained on the knees 

of St. Anna; under her feet lies the dragon The Germans, who were fond 

of this group, imparted even to the most religious treatment a domestic sentiment." 
(" Legends of the Madonna," p. 87, ed. 1852.) 

[16 J x 1 1| in.] [Coloured.] 

D. 56. 

THE VIRGIN AND INFANT CHRIST ON THE 
KNEES OF SAINT ANNA. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

|N a throne-like seat beneath a canopy of three arched divisions is 
seated St. Anna supporting the infant Saviour on her right knee, and 
the Virgin on her left one. St. Anna is draped in head-cloth, tunic 
and mantle, the latter falling in large folds to the ground and conceal- 
ing the feet. She looks towards the infant Saviour on her right knee. A large 




THE VIRGIN AND SAINT ANNA. 243 

bordered nimbus encircles her head ; the tunic is girded round the waist. On St. 
Anna's left knee sits the youthful Virgin, who is turned towards and looks at 
Christ. A crown is upon her head, and around it is a nimbus ; the long hair falls 
to the elbows ; she is dressed in a long habit girded at the waist. She holds a 
flower before her in the left hand, and extends the right hand towards Christ, who 
appears to be taking from it a flower, which is raised as high as St. Anna's throat. 
The latter person encircles the waist of the Virgin with the left arm, the hand 
appearing in front over the Virgin's left hip. The infant Christ opposite is entirely 
undressed; a cruciform nimbus is present. St. Anna supports Him at the back 
with her right arm, over the hand of which Christ extends His right arm, while Hig 
left is put forward to receive a flower from the band of the Virgin. The back of 
the throne is of architectural character, portions of it rising to a level with the 
nimbi of Christ and the Virgin. Above and beyond is seen the sky through the 
open spaces below the divisions of the ornamental canopy. The sides of the print 
are formed by the supporting columns of the canopy, which is of very mongrel and 
debased architectural character. This composition is enclosed within a border 
and measures 7^ inches high by 5|- wide. Beyond is an ornamental framework, 
ij-ths wide, one inch of which is the work of a metal cut in relief and not from a 
wood block. This framework from a metal cut consists of a border an inch wide, 
containing several ornamental discs or rosettes placed at a distance of about l [ 
inches from each other and having between them a connecting bar T 3 ^ ths of an inch 
wide. The inner edges of this outer border are sharply dentate I . the long teeth 
projecting far within the border. 

The drapery in this design is well cast and of large character. The face and 
expression of St. Anna are good. The technic of the figures is clean and careful, 
but that of the framework is heavy and coarse. 

Colour has been applied, and the nimbi and the crown of the Virgin have been 
illuminated, but the metal is now oxidated and black. The waist girdles of the 
Virgin and St. Anna, and the flowers also, were illuminated. The mantle of St. 
Anna is of a pale madder red with a green coloured lining. Her tunic and head- 
dress are white, the shadows being indicated by a faint brown. The drapery of the 
Virgin is blue. The flesh parts have been touched on the shadow sides with light 
red. The throne is of a deep yellowish-brown colour, the canopy of madder red 
and vermilion. The dentated parts of the border and the bands running between 
the ornamental discs are black. The centres of the discs themselves are alternately 
red and blue. Within the border the spaces between the denticulations and the 
edges of the connecting bands are alternately of a green and madder red colour, 
and so arranged that the green of one side is opposite the red of the other. 

This example has suffered much damage, and is now largely made up with resto- 
rations. 

On the back of the print is the following memorandum in pencil from the 
hand of Mr. Ottley 

I strongly suspect that the paper-mark of this print has been the swan drawn 
by me at the Hague from a book of accounts of tin- year 1413. At least, after 
repeatedly examining what remains of the paper-mark with the greatest possible 
care, I can think of nothing else that it can have been." 

[lOf. X 7f in. (?).] [Coloured.] 




244 WOODCUTS. 

D.57- 

THE VIRGIN AND INFANT JESUS. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 1 22, WBIGET.) 

E Blessed Virgin gently inclining her head to the right, and down- 
wards towards the infant Saviour, meets the gentle pressure of the 
Child's right hand upon her chin and cheek. A rich crown is on her 
head, and over it a bordered nimbus. The hair is long and waves down 
over the shoulders. A necklace of pearls with a Greek or Maltese cross attached is 
around her neck, and the bordered mantle is secured at the throat with a larpe 
circular brooch, having many jewels. She supports with the left arm and hand the 
infant Saviour by the back, and with the right hand by the buttock. The Child 
is quite nude ; crosses the legs over the right arm of His mother, and raises the 
right band to the Virgin's chin. In His left hand is a cross ; over Christ's head is 
a cruciform and bordered nimbus ; the hair of the head is thick and curling. The 
countenance though not in the least infantine nor attractive, has yet a very intense 
expression directed to the Virgin Mother, whose countenance and expression are 
thoughtful and refined. With the exception of the feet of the infant Saviour, the 
drawing, though not delicate, is firm and good. 

At the upper part of the print are six lines of xylographic text broken through 
the middle by the head and nimbus of the Virgin. The inscription is as 
follows 

" dEcce pocittifl e0t hit in rurnam ft in rccurrcctioncm multor in iarabfl ft in 0f0 
num non qtr atiicrtut [for cut contradicetur]. <Ct tuam ipciua animan ptnci 
\_pertraiui] bit 0Iatitu0 ut rttjflutur rr multia cortifauo coflitacionfc." (Luc: 
340 

A strongly marked border line encloses the composition. 

This print was formerly in the Weigel collection. Its former possessor remarks 
concerning it 

" It appears to have been printed off with a press ; the ink of impression is 
strongly black. In spite of the sharply notched folds of the drapery, it may be 
assumed from the character of the xylographic letters, from the - over the i""s, and 
from the soft outlines of the mantle, that the print had its origin about the middle 
of the third quarter of the 15th century. Perhaps it is a copy from a favourite 
miraculous picture. The paper is soft and without watermark." (" Anfange, etc.," 
TO!, i. p. 207.) 

[ll j X 7f n-] [Uncoloured.] 



VIRGIN AND CHILD ENTHRONED. 



245 




D. 5 8. 
VIRGIN AND CHILD ENTHRONED. 

FIFTEENTH CENTURY. 
GERMANY. 

Sn HE Holy Mother is seated on a Gothic throne-like chair, the back of 
which rises to the upper border line of the cut. In action she is 
directed towards our left, and bears the infant Saviour on her right 
knee. Both crown and nimbus are present, as also mantle and tunic. 
The long hair falls over the shoulders and the mantle descends in large and grace- 
ful folds to the ground, concealing the feet. The infant Christ is undraped, sits 
on His Mother's right knee and turns towards our right hand. He extends both 
hands towards the left hand of the Virgin, who holds in it an apple, which Christ is 
about to take in His left hand. A cruciform nimbus is present There is not any 
cross-hatching, but shadows are indicated with oblique parallel lines. The ink of 
impression is of a deep black. A border line is partly present. 

Colour has been applied, and the letters ft i (Sancta Maria) added by hand 
above. 

The nimbi, throne and drapery were originally all of a yellow colour. The 
green tint which has been used for the ground was also passed over the back and 
the edge of the seat of the chair. 

This little print appears to have been one of a series of which St. James the 
Greater [D. 69] and St. Paul [D. 70], afterwards described, were members. 
Though placed here with the woodcuts, we have a strong suspicion that these three 
impressions are from metal plates in relief. 

[ 1 T x *r ' n O [Coloured] 



D. 59. 
THE CORONATION OF THE VIRGIN. 

(" Z'/ncoronota.") 

FIFTEENTH CENTURY. 
NETHERLANDS (?). 

HIS is a tracing afterwards lined or mounted from the facsimile of 
a woodcut found on the side of a tomb in the Cathedral Church of 
St. Sauveur at Bruges, in the year 1841. We are not in possession 

of any further information concerning the original print, nor of thin 
hand copy, which latter has on the bark a memorandum in pencil, simply to the 
above effect. 

In this comjio-ition we observe the Virgin kneeling before the Three Person* 

of the Tnnitv, and reei-ivm;: from the hiin<N of the Kutlu-r and the Son the 
crown, immediately over \\hieli hovers the Holy Spirit. On the left hand of the 
-pe< -tutor i- the Son witli cruciform nimbus, and rnisiii'j the rijzht hand as if in 




24 6 WOODCUTS. 

benediction as he looks towards the Virgin, who is at the foot of the throne and 
with her back towards Him. On the right is the Father bearing crown and 
bordered nimbus, and holding in the left hand an orb surmounted by a cross. 

In the foreground at each angle is an angel, the one on our left plays a harp, 
the one on the right hand an organ. At each of the upper angles of the compo- 
sition there is an angel also. Over the angel near the head of God the Son runs 
a scroll, on which are the words " in f>8C nitat filiu0." By the angel near God the 
Father is a scroll, on which may be read " - path flloria." From the Holy 

Spirit runs upwards and towards our left a third scroll, having on it ** C f0t 

Ditoinao cpintuo." 

The foreground ia parqueted or chequered somewhat in the conventional 
manner common to prints in the maaiere criblee. 

[2lf X 16 in.] [Uncolonred.] 

D. 60. 

THE NATIVITY THE VIRGIN ADORING THE 
INFANT JESUS. 

MIDDLE OF THE FIFTEENTH CENTURY. 
GERMANY. 

T the base of the trough of a manger and beneath the penthouse roof 
only of a stall lies the infant Saviour on some raised flooring on the 
ground, to the left hand of the spectator. 

Two sides of the stall are o(>eu from the roof to the ground, the 
other sides are protected by a wattled fencing. At the entrance of the stall kneels 
the Holy Mother with raised and joined hands adoring the Child at her feet, 
according to the text in her " Office " Virgo quern genuit udoravit. 

She is draped in a long garment with close sleeves and tiht at the waist. A 
nimbus encircles her head. The Holy Child upon the ground before her is un- 
draped, and lies on a piece of white linen. A cruciform nimbus is around the head. 

Behind and at the head of the rude couch of the Saviour rises the trough of a 
manger, over which appear the heads of an ass and a bull. On the extreme right 
of the print, and behind tin- Holy Mother, stands St. Joseph clad in short mantle 
and tunic, low round cap with side lappets, and holding above a short staff in the 
right hand. He has on black pointed shoes; he looks towards the child Jesus. 
The foreground is a slightly raised grassy hillock. A double border line encloses 
the composition. 

Colour has been resorted to. The drapery of the Virgin is of a reddish-brown 
colour, her nimbus has a yellow disc, as also has that of the infant Saviour, The 
cruciform members of which are of bright vermilion. The mantle of St. Joseph is 
of a lake colour, the tunic bright vermilion, and the cap yellow. The wattle fence 
is of a light brown tint, the roof and its supports of a dingy yellow. The ground 
is of a yellowish-green tint. 

The l>order is on two sides of a reddish-brown colour, and the other -id. 
dingy yellow hue. The ox is of a faint rose tint, the ass of a ^rcenish-lilack 
colour. The staff which .Joseph carries is of a clingy yellow tipped with bright 
red. The cheeks of the infant Cbri-t. Virgin and St. Joseph are liri-lit ml, the 
mouths of a still deeper colour. 

Tin-re is not any cross-hatching pre.eni. -lnidows being indicated in certain 
places both by distant parallel lino and by c.,!, ur. 







A "REPOSO." 247 

On examining closely this little print, it may be observed that the technical 
execution both of the contour lines and forms and of the colour is peculiar. At 
first si-jht it would appear that the whole was entirely the result of stencil work. 
Careful observation will show, however, that in part at least the marking out of 
the forms has been due to pressure from an engraving in relief. As regards other 
parts it may be suspected that the forms have been made out with stencils. With 
respect to the exact mode in which the colouring has been effected we are in doubt. 
That it is not of pure handwork we think is clear, but whether the colour has been 
.^<tinped on in parts from the block, or has been throughout applied with stencil*, 
is doubtful. 

[4f X 3| i"-] [Colonred.] 

D. 61. 
A REPOSE OF THE HOLY FAMILY. 

SIXTEENTH CENTURY. 
NETHERLANDS. 

flTHIN a kind of garden stands a tent to the left of the spectator. At 
the foot of the tent sits the Virgin holding out her hands to receive 
the infant Jesus, who is approaching her. By the side of the Virgin 
stands St. Elizabeth, who extends her left hand towards the Child 
.Ir-us as if to guide Him on His way to His Holy Mother. The latter is draped in 
mantle and tunic, and has an overlapping collar ; a nimbus is over her head, the long 
fair hair of which falls over the shoulders. St. Elizabeth has head-dress, mantle 
and tunic ; a nimbus is present. With her right hand she supports in front her 
outer garment. In the middle of the foreground is the infant Saviour approaching 
His mother; He extends the right hand as if about to take the left hand of St. 
Elizabeth as supporting Him on His way. In His left hand He holds a basket. He 
is chid in a loose habit which reaches down to the calves of the legs, the feet being 
exposed and bare. A cruciform nimbus encircles His head, the hair of which 
falls to the nape of the neck only. In the background immediately behind Christ 
rises a fruit tree, and by it stands St. Joseph grasping the stem with both hands 
for the purpose of shaking it, the fruit and leaves falling to the ground. Joseph is 
clad in a loose tunic reaching to the knees and girded at the waist. His head is 
bare. The legs are clothed in tight hose and the feet in short toed shoes. Behind 
ii and the tree is a low wallwhu-h crosses the composition from the elbow of 
St. Elizabeth to the middle of the right border line of the print. Some of the 
branches of the tree laden with fruit and foliage touch the upper border line 
of the print. Beyond the wall and between the tree and St. Elizabeth sprint: up 
some other branches and foliage. At the lower right hand corner of the print 
kneels une religieiue in adoration. On the ground are grass, flowers and 
nl fruit. 

lour has been resorted to, some of it being of a heavy and opaque character, 
and <-aivle--Iv applied. The draperies of the figures are blue and brown. Tin- 
outer surface of the tent han^inu'- i- I'lue, the inner clu-ipiered or diapvrcd. 
AniniiL'-t the dirty green foliage of the tree are round bright red fruit.-. Tin- in-e 
<>t'.l..-i-ph and the outer habit of the kneeling figure in the corner are of a lakit.li 
hue. 

A narrow sky is indicated at the top of the print by awash of dirty blue paint. 
Out-ide (he In.rdcr line of (lie cut a 'narrow wash of deep bluifdi-\i<>lct colour 
has been applied. The nimbi, the l>all at the top of the tent, and the bonier al><>\c 
the fringe encircling the bottom of the conical top of the tent, l.avc been illiuni- 




248 WOODCUTS. 

nated with gold, which is still bright. A deep black border line has been worked 
round the outer and inner edges of all the nimbi. 

This example is one of three illustrations belonging to a " Life of the Virgin," 
of Flemish origin. The others in the Museum collection immediately follow [D. 
62.D.63]. 

[4f X 2f in.] [Coloured.] 

D. 62. 
THE VIRGIN AND CHILD IN GLORY. 

SIXTEENTH CENTURY. 
NETHERLANDS. 

'HIS example consists both of illustration and text. Above eight lines 
of the latter occupying a space ofaninchanda half, isadesign represent- 
ing the Virgin and Child within a "vesica picis" or " maudorla," thedisc 
of which is a radiant glory. The Virgin stands on the crescent moon 
rising above the earth ; she bears both crown and nimbus, and is draped in mantle 
and tunic. The feet are just visible on the inner curve of the crescent. The hair 
of the head is long and wavy, and falls to the elbows. The mantle is fixed at the 
neck with a brooch, and has a decorative border. The infant Christ is on the Virgin's 
left arm, a diminutive cruciform nimbus is over the head and a loose garment on 
the body, leaving the lower limbs bare. Christ extends His left hand towards a 
palm branch which is borne in the right hand of St. Barbara, who kneels at the 
right hand corner of the print. He holds out the right hand alpng with a ring to- 
wards St. Catherine, who kneels at the opposite corner. Both Saints kneel on 
pinnacles of the earth, above which the crescent moon is rising. They have 
diadems and nimbi with long fair hair to the shoulders ; each supports a large 
book on the knees and places a hand upon it. In the other hand St. Catherine 
holds erect a sword, St. Barbara a palm branch. Above the head of the former 
rises a large wheel, above the latter a tower. On the tops of the wheel and of the 
tower kneel angels in long draperies who bear up the large aureola with their 
hands. 

A black border line encloses the composition. 

Below are eight lines of engraved text in sharp lower case Gothic characters in 
the Flemish language, commencing with "(goto BtUCt,'' and ending with "^Harif 
toatfr." 

Colour here and there opaque has been heavily applied, and the nimbi and 
angels' wings have been illuminated with a very inferior metal, which has oxidated 
and in part scaled away. The mantle of the Virgin is white and in the shadows 
blue ; the border is yellow. The tunic is of a deep red, the cuffs of the loose 
sleeves being yellow, as are also the draperies of the kneeling Saints. The hair 
of the Virgin, the rays of the elliptic glory, the hair of the Saints, the sword, tin- 
wheel and parts of the wings of the angels are yellow in colour. The earth is 
green. 

Wo are inclined to beliovp that this cut, along with D. 61 and D. 63, is from 
some soft metal engraved in relief, nnd not from a wood block. 

[4r x 3* '"] [Coloured.] 




TUE VIRGIN AND SAINT ANNA. 249 

D. 63. 

VIRGIN 4ND INFANT CHRIST ON THE KNEES 
OF SAINT ANNA, WITH OTHER SAINTS. 

SIXTEENTH CENTURY. 
NETHERLANDS. 

[N a throne with a high and ornamental back sit SS. Anna, Joachim 
and Joseph. St. Anna is in the centre, the infant Saviour and the 
Virgin resting on her knees. A canopy is over St. Anna's head, 
on which rests the Holy Spirit as a large dove. St. Anna bears 
a decorated nimbus and head-cloth, long mantle and tunic. The Virgin appears 
as if sitting on her left knee supported by St. Anna's left arm. The infant Christ 
stands erect in the middle of St. Anna's lap. She supports him by placing her 
right hand on his right arm, and her left hand over his left hip. Christ appears 
to hold something (a fruit ?) in his left hand. 

On the right hand of St. Anna (the left of the spectator) is seated Joseph, 
directed in action and looking towards the infant Christ. He is bareheaded and 
somewhat bald, is draped in a large mantle and tunic, and holds a book on his 
knees, the right hand being placed on it. With his left hand he grasps one of the 
bands of his head-dress which has fallen on his right shoulder. On the other side 
of St. Anna is seated Joachim draped in a mantle with a rich collar and orna- 
mental cuffs to the sleeves. A cap with a button at the top is on his head. He 
extends the right hand towards the infant Christ, and with the left holds an open 
book upon his knees. The dais of the throne advances in the centre in a semi- 
circular way ; on the floor of this projection lies a large open book. On the 
straight edge of the floor of the dais are inscribed the names *' Joseph " and 
44 3(oacf)im ; " on the curved edge, " ffla . if>8 . anna " 

The ground before the dab is paved, the lines of the stones running to a point 
of sight in the centre of the composition. The throne itself is placed below a 
narrow ornamental arch, above the carved mouldings of which is the word 
44 fHarien " on our left hand, and " 223atet" on our right. 

Hc:ivy and opaque colour has been applied. The draperies are of dingy red 
and brown, with the exception of the dress of the Virgin and the cap of Joseph, 
which are of a blue colour. The small canopy over St. Anna is blue, the dove 
In -ing white with a red beak. The throne and floor edge of the dais are yellow. 
Tin- (lonr itself is green. Within the black bonier line a bright red inner border 
has been carried up to the arch of the canopy over the throne, along the outer 
curve of the arch of which it is continued, as also along one of the horizontal 
edges and the curved edge of the floor of the daia. 

[4r x 3| '"] [Coloured.] 




250 WOODCUTS. 

D. 64. 

THE VIRGIN ADORING IN SORROW THE 
CRUCIFIED SAVIOUR. 

(** Maria addolorata.'") 

SIXTEENTH CENTURY. 

NETHERLANDS. 

|N a Cross placed in the middle of the composition is extended the 
Crucified Saviour, from whose body blood is streaming in such quantity 
as to cover one half of the surface of the print. Parts of the body are 
quite hidden also by the torrents of blood, which are throughout 
indicated by colour and not by engraving. 

A large cruciform nimbus and wreath of thorns are on the head, the ends of 
the loin cloth flutter on the right hand (to us) side of the Cross. The latter, with 
the body of the Crucified, is turned in direction towards our left. At the left 
hand corner of the print kneels the Virgin wearing head-cloth, mantle and tunic. 
A nimbus is over her head, she raises her joined hands before her as she looks up 
in sorrowful adoration to Christ. At the foot of the Cross are two skulls and some 
bones. Behind the hillock on which the Cross is placed appear some houses and 
castellated towers. Clouds are indicated in the sky. This design is 3|- inches in 
height, by 2y- inches in breadth. It is enclosed within an ornamental frame or border 
|-tha of an inch wide. Within this border are large separate flowers, prints and 
insects ; delineated in a naturalistic yet artistic manner. Black border lines enclose 
both design and border. 

Colour has been applied and either some gummy matter or very inferior metal 
now oxidated to the nimbi and blood drops. The entire body of Christ is of a 
bright brownish-red, the streams of blood are of a deep red, as are also some houses 
in the background. The head-dress of the Virgin is nearly black, the mantle of a 
light brown colour. The Cross is yellow, the loin cloth blue, the hillock green. 
The sky is of a dingy blue tint. The ground of the frame or border is of yellow 
colour, the flowers, fruits and insects being coloured in a fairly natural manner. 

The entire work of the border is of a superior character to that of the <lr>k'n 
it encloses. There are some features of this print that incline to the opinion that 
it may be an impression from a metal plate in relief, and not from a wood block. 
It appears to have belonged to a series of which the cut to be described next 
was also a member. 

[4l X 3 fin.] [Coloured.] 




INSTRUMENTS OF THE PASSION, ETC. 251 

D. 65. 

THE INSTRUMENTS OF THE PASSION AND 
THE SACRED HEART. 1 

SIXTEENTH CENTURY. 
NETHERLANDS. 

the centre of this curious design is a large heart, within which is 
seated the infant Saviour on a cushion, and directed in action towards 
the spectator's left. He is undraped; a cruciform nimbus encircles 
the head. He holds erect in his right hand a rod, and in his left a 
scourge. Behind the heart rises a cross, with the spear, reed and sponge placed 
crosswise between the heart and the cross. The spear and reed reach from the 
bottom to the top of the design. Above the heart hangs a large wreath of thorns 
from the centre of the transverse beam, having above the scroll of inscription 
IN -III- 

Below the transverse beam of the Cross, and by the sides of the heart, are 
some instruments of the Passion, with the pierced and bleeding hands and feet of 
the Cruci6ed. The nails, hammer and forceps are on one side, the dice and 
sword on the other. The wounded hands are above, the feet below. The cross 
rises from an undulating hillock. 

A comparatively broad black border line encloses this composition, which is 
2[ in. high by If- in. wide. Beyond the border line is a plain margin ; tli of an 
inch wide, mit.-ide of which is an ornamental frame or border similar in character 
to that of the previously described print (D. 64). Some of the little figures in 
tins bonier are admirable, particularly some roses, a butterfly, and a bird catching 
an insect. 

Colour has been resorted to, and apparently the nimbus and cushion have been 
illuminated. The heart is of a bright red colour, marked with deeper hued blood- 
dri>|>s. The spear, reed, wounds of the hands and feet, with the blood, are red, as 
are also tin- spaces between the twisted thorn stems. The nails are black, the 
. hammer and forceps are yellow, the ground is green, the rod and sword- 
blade bine. The sky is indicated at the top of the cut with a narrow streak of 
iliniry blue. The flowers, &c. of the border are naturally treated, the general 
id of it being of a yellow hue. 

[4 x 3 in.] [Coloured.] 



1 Antea, pp. 152-154, C. 8, C. 9. 




252 WOODCUTS. 



D. 66. 

SAINT JOHN THE BAPTIST IN THE 
WILDERNESS. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

BAVARIA. 

(Tlie hut Prophet, Forerunner of Christ, Martyr.) 
(No. 94, WEIGEL.) 

|T. JOHN THE BAPTIST is here represented as witness to the 
coming of Christ. He stands erect, occupying the whole length <>t' 
the print. The head is inclined very slightly over the right shoulder, 
as he looks down on an " Agnus Dei," lying on a large closed book, 
supported by the right arm, and to which symbol he points with the index finger 
of the lft hand, as if saying, " Behold the Lamb of God." 

A large and bordered nimbus is present, from the outer edge of the border of 
which run off two long scrolls on our left hand, and one scroll on the right. On 
the upper scroll on the left are the words, " (Ego . cum . tor. " ; and on the scroll 
on the right, " clam . man . tic , in . Deaerto." On the lower scroll on the left 
are the words, " CCe 9(gnu0 , Hei . cccc . q , tollit . jc." These words arc in 
Gothic characters. 

The hair of the Baptist is thick and long, and cut straight across the forehead. 
Hair is not present on the upper lip, but from the chin falls a thick beard. The 
long mantle is thrown in heavy folds over the left arm, and is brought close to the 
waist, from whence it depends along the left leg to the ground. Over the chest 
and below, between the legs, may be seen exposed the tunic of long camel's hair, 
from beneath which protrude the naked feet. 

Over the head of the lamb on the book in the Baptist's right hand is a 
cruciform nimbus, from the top of which rises a cross, with the banner of victory 
attached. 

In the immediate foreground is a narrow strip of sandy desert, beyond which 
is a grassy hillock. On the top of the latter, and at the left hand side of the 
print to the spectator, rises a rock surmounted by a wood having a waterfall 
running down in front of it. At the base of this rock is a smaller one to the rijjlit 
hand, in front of which springs up a dwarf palm tree. Some herbage and tree 
stumps are represented in the foreground. The whole is enclosed within a rather 
broad border line. 

Colour has been resorted to. The nimbus, book, hairy tunic, sand and small 
rocks are of a yellow colonr, the mantle is crimson madder, the hillock and foliage 
green, the hair and beard dark brown, the h'ning of the mantle of a lighter 
brown colour. The flesh parts are faintly tinted with a light red. 

Weigel remarks of this example, which was formerly in his cabinet 

" The design is free and large in style, the pose of Saint John noble. The 
drapery is pictorially effective ; the mantle forms large and handsome folds under 
the right arm, and also falls tastefully down over the left arm. On the ground 
also the flow of the drapery is the reverse of stiff. The hair of the head, beard, 
and tunic is lightly and dexterously drawn and engraved ; the lines of the drapery 
and the folds generally are strongly marked, and, if somewhat stiff, yet are not 



SAINT JOHN THE BAPTIST. 253 

hard. Notched and hooked folds of the draperies are not observable. The folds 
are to a limited extent shaded with diagonal strokes. The rocks are hard and 
ruined, as if recently disrupted. The foliage of the trees is carefully drawn. On 

tin top of the latter sits a bird The impression appears to have been 

taken with the press in a brownish-black colour, which to some extent has passed 

through the paper The paper has wiremarks, but not any watermark. 

Technic and colour point to a formschneider of Ulm or of Augsburg as the author 
of the print. The character of the hair, the rich and, if somewhat formal, yet not 
stiffly broken drapery, refer us to the middle of the fifteenth century." (Op. cit. 
Tol. i. p. 159-) 

X 7in.] [Coloured.] 

D. 67. 

THE BEHEADING OF SAINT JOHN THE 
BAPTIST. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

BAVARIA. 

(The last Prophet, Forerunner of Christ, Martyr.) 
(No. 185, WEIOEL.) 

the immediate foreground kneels the Baptist, directed in action 
towards the spectator's right hand, as he bends slightly forwards, with 
his hands raised and joined before him us if in prayer. A bordered 
nimbus is over his head, the hair of which and of the beard is thick and 
slightly waving. The mantle of the martyr has fallen below his waist, exposing the 
tunic of camel's hair and its girdle. The folds of the mantle fall gracefully on the 
ground. Behind the Baptist, and to the left, stands the executioner, holding with 
both hands a long straight double-edged sword, as about to decapitate him. The 
executioner is in a close-fitting surcoat girded at the waist, tight hose and loose 
leather boots. The sheath of the sword he raises may be seen between his legs. 
I Iu has on a conical, but flat-topped cap. The hair of the head and beard is close 
and thick, but not very long. He stands before an open door of the fortress-palace 
of Macheronta, where Herod was celebrating his birthday. On the other side 
- forward Salome, the daughter of Herodias, wearing a turban, above which 
appear the upper ornaments of a diadem, and below the heavy plaits of her hair. 
She bears a charger in her hands, as if waiting for the head of the Baptist to place 
on it. Behind and to the right of Salome stands a bearded man, of years and of 
importance. He has on a conical cap, and tunic girded at the waist. Below the 
tunic, which reaches to the knees, appears a small portion of the loose drawers he 
wears ; shoes are on his feet. 

The background is a hilly landscape, with a river, on which are two boat. On 
the banks of the stream is a 'town ; on the summit of the more distant hill is a 
tree, and on that of the nearer elevation on the right are a church-like edifice 
and houses. Some trees and vegetation are scattered over the landscape. 

Tlii> example formed part of the Weigel collection. 

" The group is well arranged. The countenances arc not without expression, 
and the drawing is natural ; the lines are strongly marked, and printed off appa- 
rently with the press. The iuk of impression U of a deep black colour, particularly 




one 

: 



254 WOODCUTS. 

of the open doorway and of the border line. The colouring is lively, and so far 
carefully performed as to be contained within the contours. The verdigris i_ r reen 
is softened in the middle distance and background with yellow, and into which it 
passes. The colours are those of the Swabian school ; the red is very fiery. The 
paper is strong, and has a roughly expressed bull's-head fora watermark. The print 
has been damaged below at the left hand corner. If we may regard the river of 
the landscape as the Danube, and the town as Regensburg, we have before n- licro 
perhaps a work of Lieuhardt, of Regensburg. Drawing, technic, and colour call 
to mind the ' Marienbuch' (Salve Kegina) of Lieuhardt, in our possession. 'I'll,- 
garments and turban of the daughter of Herodias, the developed bosom, and the 
cast of the drapery coincide closely with the prints of Giinther Zeiner (1472), and 
approach the last quarter of the fifteenth century, and which is indicated also bv t lie 

waved lines representing the clouds Over the print is fixed a narrow >trip 

of parchment, one side only of which is written on with the following words in one 
line of monkish characters. Above and below this line the writing has been 
away 

' dno Gerhoho Chyemesis eccie Ep.' 

This line has been removed from the book in which our specimen was fixed. The 
latter was found in Lower Bavaria ; thus the print might readily owe its origin 
to Regensburg." (" Anf ange, etc.," vol. i. p. 29 1 .) 

[10$- X 7f in.] [Coloured.] 



D. 68. 

THE BEHEADING OF JOHN THE BAPTIST 
AND ANOTHER PERSON. 

LAST DECADE OF THE FIFTEENTH CENTURY. 

NURNBERG. 

impression from a block engraved for one of the illustrations in the 
work known as " Dionysius vom himlischen Reichtums," or the 
" Schatzbehalter dcs Reichtums des ewigen Heils und Seligkeit." 
This book was first printed at Niirnberg by Koburger in the 
1491. It was the predecessor of the " Niirnberg Chronicle," and the cuts in it 
are from the designs of Michael Wohlgemut, the master of Albert Diiirr. < >n 
the character and bearing of these cute, in relation to the history of early German 
Art, reference may be made with advantage to Thausing's "Diirer, Geschichte 
seines Lebens und seines Kunst." Leipzig, 1876, p. 49. 

In the Print Room collection of Books there is a series of ninety-one illustra- 
tions taken from the " Schatzbehalter." (No. 86 of the German books.) The 
present cut, D. 68, answers to No. 31 in that series. D. 68 is plain on the 
verso; the cut (31) in the series mentioned has an impression of cut 30 of the- 
same series on the back of it. 

[9{- X 6 Jin.] [Coloured.] 




SAINT JAM EH THE GREATER. 



255 



D. 69. 
SAINT JAMES THE GREATER. 

SIXTEENTH CENTURY. 

NETHERLANDS. 
(Apostle, Martyr. +43.) 

'HE Apostle stands erect, directed in action towards onr left. He holds 
in his right hand an escallop or pilgrim's shell, and in his left hand a 
short staff. He is clad in a large mantle with cape, and in a tunic. 
A pilgrim's hat is on his head, encircling which is a nimbus. The 
].;i<-ki_'r"imil is plain ; the foreground rises to the level of the knees. Colour has 
been applied. The nimbus, tunic and staff are yellow ; the mantle and foreground 
iriri'ii. The capital Gothic letters ft and 31 have been added by hand at the top 
of the print, and over which a wash of yellow colour has been passed. A black 
border line encloses the composition. 




[2 x ij-in.] 



[Coloured.] 



D. 70. 
SAINT PAUL. 

SIXTEENTH CENTURY. 
NETHERLANDS. 
(Apostle, Martyr.) 

1 1 K A postle erect advances towards our left, holding in his right hand 
a long pointed sword, the point downwards. A nimbus is present ; he 
is clad in mantle and tunic. The drapery is well cast. The back- 
ground is plain ; the foreground rises to the level of the knees. 
Colour has been applied. The mantle is yellow. The tunic and ground are 
green. The nimbus and sword-handle were yellow, but green colour was after- 
wards washed over them, and they are now of a yellowish-green. 

The capital letters ft and IP in Gothic forms have been added by hand at the 
upper part of the print. 

A border line encloses the whole. 

This cut is from a series apparently, and to which D. 69 belongs. 




[2 T ' T x \ I'm.'] 



[Coloured.] 




256 . WOODCUTS. 

D. 71. 
SAINT PETER. 

SIXTEENTH CENTURY. 

NETHERLANDS. 

(Apottle and Martyr.) 

|T. PETER stands erect, directed in action towards the left. In his 
right hand he holds an open book, in his left a large key upright. 
He is clad in mantle and tunic, the hitter being girded at the waist. 
Some folds of the mantle are passed underneath the girdle, by which 
the mantle is not ungracefully held up. The latter is fastened at the neck collar 
by a morse. The tunic has a row of buttons down the breast, and a border where 
it buttons. The Apostle has received the tonsure; a nimbus with rayed disc 
encircles the head. He is bearded ; the feet are exposed and bare. At the upper 
part of the print are the words " ftancte peter." 

A double border line is present. The outer line is broad and deeply black, 
the inner line narrow. 

The print has been coloured. The nimbus, tunic and key are yellow ; the 
mantle is of a madder red colour and the ground is green. On the verso is 
manuscript in the Flemish dialect. 

[3f x 2 f in O [Coloured.] 

D. 72 and 73. 

FOURTEEN INTERCESSORY SAINTS OF THE 
FIFTEENTH CENTURY. 

LATTER THIRD OP THE FIFTEENTH CENTURY. 

GERMANY. 
(No. lioo, WEIGEL.) 

jN the present and following sheet (D. 73) are represented the fourteen 
intercessory Saints and Martyrs commonly reverenced during tin- 
fifteenth century. These and other holy mediators are such of the 
martyrs of the early Christian Church as are recorded to have lie- 
sought the Almighty before their deaths that He would be pleased to nuit the 
prayers of such repentant sinners as might hereafter approach His Throne of 
Mercy through their names. 

The number of these interceding martyrs varied at different times ; during 
the fifteenth century fourteen were recognized. The number was increased to 
fifteen during the sixteenth century. Some slight variation in the Saints selected 
is also to be met with. 1 

On the present sheet (D. 72) are represented six of the fourteen mediators, 
three of whom are placed on each side of the Crucified Saviour. On the ri^ht 
hand side of the Cross is the Blessed Virgin, and on the left St. John. On the 

1 On the Auxiliatoret or Intercessory Saints, see Cahier, " CarackTistiqiu-.s 
etc," voL i. p. 102. 




INTERCESSORY SAINTS. 257 

spectator's left hand and next to the Virgin stands St. Biasing, Bishop of Sebaste 
in Armenia ({ 304). He is mitred, has a lighted taper in the left hand, and in the 
riirht his bishop's staff with sudarium attached. He is draped in casula, tunic and 
alb. In action he is directed towards the Crucified. Next to him is St. .Ivjidius 
as a mitred abbot (% circa 7 1 1). He bears a crook in the right hand, and with 
his left holds the left paw of a hind, which rises and fawns on him. In action this 
Saint is directed towards the spectator's left hand. To the left of vEgidius ia 
St. Adjutor, a Benedictine monk of Tiron in Normandy (J circa 711). He has 
on a monk's habit, and is unmitred. He holds in the right hand a chain and 
fetters, in the left a book. 

On the other side of the Cross and next to St. John stands St. Erasmus 
(+ 303) in alb, tunic and casula. He is mitred, holds in the right hand a pas- 
toral staff with sudarinm, and in the left a long reel, around which is wound some 
intestine. He is directed in action towards the Cross. Next to St. Erasmus is 
St. N'icholas of Mira ([ 342). He is habited and mitred as a bishop, and carries 
three balls against his chest. He is directed towards the Cross. On the extreme 
right is St. Vitus (| 303), bearing on his right hand the symbolic cock, and 
resting his left hand on the girdle of his tunic. He is in laical dress, with tight 
hose and pointed shoes. Over the head of each Saint is a circular nimbus. Not 
of any of the Saints are the feet visible but of St. Vitus. 1 

As before remarked, in the middle of this row of Saints is the Crucified, the 
Virgin and St. John. A cruciform nimbus encircles the head of our Lord, a 
wreath of thorns is around the brow, and dense long black hair falls on the shoul- 
ders. The loin cloth is close-fitting, the feet are crossed, but there is not any 
euppedaneum. Blood streams from the wounds in the extremities and chest. 

The Virgin, clad in head-cloth, mantle and tunic, with nimbus over the head, 
looks downwards in pensive sorrow, with hands clasped over the chest. St. John 
looks up as if in wonder at the sufferings of his Master. 

The print has been coloured, and a strong coating of a gummy varnish applied 
to the draperies of St. John, St. Blasius and St. Nicholas, whose outer vestments 
are of deep madder red, while those of St. Erasmus and the tunic of St. Blasius are 
bright green. The draperies of the Virgin, of SS. .K_'i<lius, Adjutor and Vitus 
are of a light brown colour. The nimbi, cross, &c. are yellow, the linings of the 
mitres green. The ground which rises but little above the feet is also green. 

There is not any border line, the print having received some damage. Thi* 
example formed part of the Weigel collection. Weigel thus comments on it 

" The figures are powerfully drawn, and printed off sharply with the rubber. 
From the complete absence of nicked folds in the draperies we are referred to the 
middle of the xv century for their production. The craftsmanlike work of the 
engraving and colouring, along with the colours employed rich red, metallic 
green, and yellow render it probable that the print saw the light at Augsburg." 
(Op. cit. vol. i. p. 1 83.) 

[4f X I3f in.] [Coloured] 

1 St. Roch also was invoked as against the Plague. Rubens in representing 
the Angel, bearing from Heaven power to the Saint, has placed a tablet in tho 
hands of the Angel, having inscribed on it " Erin in peste patronus." (fahier, 
op. cit. vol. i. p. 41.) Sec also D. 74. and D. 93. 




258 WOODCUTS. 

D. 73 (and 72). 

FOURTEEN INTERCESSORY SAINTS OF THE 
FIFTEENTH CENTURY. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
GERMANY. 

(No. i loi, WEIGKL.) 

jN this the companion sheet to the foregoing one are represented the 
remaining eight of the fourteen intercessory Saints. Here are three 
female and tire male Saints. On our extreme right hand stands St. 
Barbara with diadem and nimbus, and bearing in her right hand a 
chalice with the sacred Host. Next to her is St. Margaret ({ ?) with diadem 
and nimbus, holding erect in her right hand a palm branch, and supporting with 
the left a little dragon, partly hidden in the folds of the flowing mantle. St. Cathe- 
rine of Alexandria (-J- 307) comes next with diadem and nimbus, holding a sword, 
point downwards, with the right hand, and supporting a part of her mantle with 
the left hand. Below the point of the scimitar-like sword is a broken wheel. 

Next to St. Catherine stands St. Achatius (J circa 250) in laical dress, but with 
a nimbus over the head. His right hand rests on the top of a thorn stem and his 
left on his waist girdle. St. Eustachius is next to him in laic dress, and wearing 
a large cap, which rises considerably in the nimbus. In his right hand he carries 
a stag's horns having a cross between them. At his side and turned towards St. 
Eustachius is St. Pantaleon in laical dress and with nimbus. His hands, pierced 
by a large nail, are raised to the top of his head and placed one above the other. 
Blood flows from the wounds. SS. Achatius, Eustachius and Pantaleon have all 
tight hose and black pointed shoes. St. Christopher stands next in the series. He 
bears the infant Saviour on his left shoulder, and as he wades through the water 
towards our left hand supported by a tree stem turns round the head towards 
Christ and St. Pantaleon. St. George ({ 303) is the last of the series. He is 
on foot in armour, and thrusts a spear into the mouth of a dragon at his feet. 
The action is towards the spectator's left. The ground line is but little above 
the feet of the figures. A small portion of the border line on the right of the 
print remains, and half of it at the top. 

The print has been coloured, and a layer of gummy varnish applied to the 
deep madder red draperies of four of the Saints. 

" The impression is black and sharp, and produced with the rubber. The 
colouring is not careful; the colours are madder red, mini-nil green, light brown, 
and camboge yellow. The whole points towards Augsburg or Ulm. The armour 
of Saint George and the sword of Saint Catherine refer us to the third quarter of 
the xv. century." (Weigel, Op. cit vol. i. p. 184.) 
Both D. 72 and 73 have received damage in parts. 

[4f X 1 3f in.] [Coloured.] 




ANTHONY. 259 

D. 74. 
SAINT ANTHONY. 

FIFTEENTH C E N T U R Y. 

GERMANY. 
(Founder of the Hermits. % 356.) 

T. ANTHONY stands erect directed in progress towards the left. HP 
is a tall, old, white-bearded man, with mantle closely wrapped around 
him ; his tunic is visible below. A nimbus is present ; St. Anthony 
bears in his right hand a staff the top of which is a tau cross, the trans- 
verse limb having pendants at its extremities, perhaps meant for bells. He holds 
a large bell in the left hand. Behind him and to the right is a sow or pig, 
the head turned away from St. Anthony. On the other side of the latter kneels 
a man raising his hands towards the Saint as if imploring his intercession. The man 
appears like a poor one from the basket (?) hanging on his right arm, and from his 
dress, which is a tunic and tight hose. Above the Saint's head is a row of casts 
or votive models of limbs, which have reference probably to cases of erysipelas 
" St. Anthony's fire " and to dry gangrene, for the cure of which the intercession 
of St. Anthony was frequently invoked. Above the votive limbs is a tablet, on 
which is inscribed S. Anton, but so undecipherably that without the figure and 
symbols of the Saint below the import of the inscription could hardly be divined. 
At the upper left hand corner of the print God the Father looks out from a circle 
of clouds towards St. Anthony. A broad border line encloses the composition. 

The print has been coloured. The chief outer draperies and clouds are of an 
opaquish lake colour, other draperies are of a reddish-brown. The nimbus, votive 
limbs, tau and pig are yellow. The ground is green. 

The impression has been very imperfectly worked off from an ill-engraved soft 
metal as we think plate. 

[5r x 3f '"! [Coloured.] 

> 75- 

SAINT ANTHONY AND SAINT SEBASTIAN. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

SWA Ml \. 

(Founder of thr TIcrmit*. Jfc 3&. Murti/r, + rirra 287.) 
(No. 151, Wuir.Ki..) 

the one and same sheet are the figures of SS. Anthony and Sebas- 
tian. The originals were engraved on one block, the designs being 
separated by a perpendicular l>order J ths of an inch wide. 

St. Anthony stands erect on the spectator's left hand, and is repre- 
sented as an old but vigorous man. In action he is slightly directed towards our 
rijrlit. He werxr- on the head a black cap having long tailed sides which hang over 
ks. purl of the board, ami le- -ond i<> the chest : a bordered nim)m it prr- 




260 WOODCUTS. 

sent. The beard with the hair of the head is white and thick. The first is large, 
the lower part being hidden by an open book which is borne on the Faint's left hand. 
From this hand depends a bell. In the right hand is a long stuff surmounted 
with a tau cross. St. Anthony has on a white talar descending to the feet. The 
rounded black shoes protrude just beyond it. The talar is girded round the waist, 
a rosary depending from the girdle. Over the talar in front and from below the left 
hand and bell descends a long narrow black strip of drapery. Over all is a monk's 
grey habit, much open in front Below on the right near the feet of the Saint is 
a large pig with a bell hanging at the neck. The pig turns away the head from 
St. Anthony, and looks out from the lower right hand corner of the design. 

The foreground rises but little above the feet. Below the ground is a border 
or margin rather more than ths of an inch wide, on which is inscribed in sharp 
Gothic characters " ft. antbonilW." 

Colour has been resorted to ; the disc of the nimbus, the leaves of the book, 
the staff, girdle and pig are pale yellow ; the border of the nimbus, the cover of 
the book and the rosary are madder red. The cap, strip of drapery in front 
and shoes are black, and the habit is of a light brown colour. The foreground is 
green. The ground of the border of inscription is deep yellow in tint. The 
drawing of St. Anthony is stiff, the folds of the drapery are marked by very angular 
and hooked folds, though the lines themselves are fine. The colouring has been 
somewhat negligently performed, as in the manner of the old " brieftnalers." The 
tints of red and green point to the schools of Upper Germany. 

On the right hand is St. Sebastian, undraped with the exception of a narrow 
close-fitting loin cloth. He is bound by the arms and legs to the stem of a tree. 
In action he is directed slightly towards the right. A nimbus encircles the head 
and a wreath of roses (?) is around the brow, from below which falls at each side 
of the head a mass of wavy fair hair which rests upon his shoulders, drawn toge- 
ther by the strained uplifted arms. The Martyr Saint is pierced with thirteen 
large arrows, from the wounds inflicted by which the blood is seen to flow. At 
the top of the tree stem by the side of the bound wrists of the Saint two branches 
of green foliage form a kind of arch over the head. The bottom of the tree touches 
the border of inscription below, and in front of it runs the Saint's right foot cut 
across at the toes. The left leg is bent at the knee-joint and is seen in profile, 
the foot resting on the top of a grassy bank and cutting across the base of 
the tree stem. On a border with yellow ground below is inscribed in Gothic 
letters 

"ft. crbotinmto." 

This figure has been coloured somewhat more carefully than the other 
one. The shadow parts of the flesh have been indicated by thin washes of light 
red, the latter colour being deepened to represent the blood drops. The arrow 
shafts, tree stem, nimbus and hair are yellow. The ground, foliage and one 
feather of the arrows are green. The roses in the wreath and one feather of the 
arrows are of madder red. With the exception of the face, the drawing of the 
figure is pretty fair. The contour lines are done with a heavier stroke than they 
are in the opposite figure. The space between the two border lines has been 
washed with light red. The ink of impression is of a deep brown colour. There 
is not any watermark to the paper. The third quarter of the fifteenth century is 
about the time of the print, and its locality of production was Swabia. 

On the import of this union of St. Anthony and St. Sebastian on one .-lifct, 
and on the .significance of the tau symbol, some remarks may be met with further 
on (D. 93. i and 2). 

X Tjin.] [Coloured.] 



SAINT BERNUABD. 



261 




D. 76. 

SAINT BERNHARD OF CLAIRVAUX- 
" DOCTOR MELLIFLUUS." 

FIFTEENTH CENTURY. 

GERMANY. 
(Abbot. + 1153.) 

|T. BERNHARD, in monastic dress and tonsure, kneels at our right be- 
fore the Virgin and Child. A nimbus is over his head, a crook rests 
upon the left shoulder ; the Saint raises his hands in wondrous adora- 
tion as he gazes on the divine Child. From his mouth runs a large 
scroll, on which is inscribed in sharp Gothic characters "monotra te CflflC 
matrent" 

On the left hand is seated the Virgin with the infant Saviour on her right 
knee, and supported by her right arm. She is draped in a large mantle and 
tunic-, the latter being slightly open over the chest, yet sufficient to expose the 
left mamma, which the Holy Mother so compresses with the left hand as to cause 
the ejection of its secretion on to the face of the adoring Saint. A bordered 
nimbus is above the Virgin's head. The infant Christ bears a cruciform nim- 
bus, is undraped, lays the right hand on the abdomen, and raises the left to the 
chest. 

In the immediate foreground is a low wattled fence having on the top of one 
of its palisades a shield with a black ground, on which is an oblique white bar 
traversed by a long black line crossed with five transverse lines of the like 
character. The background is hilly, and topped by three trees. The whole is 
enclosed in a broad black border line. There is not any cross-hatching. The 
work is firm and open, and the shadows are indicated with oblique parallel lines 
rather wide apart. A bull's head watermark is on the paper. 

On the motif of this composition Mrs. Jameson's " Legends of the Monastic 
Orders," p. 153, may be consulted. 

[7r X 4ff m -] [Utacoloured.] 

D. 77. 
SAINT CHRISTOPHER. 

FIFTEENTH CENTURY. 
GERMANY. 

(Martyr. -J- 254.) 

. CHRISTOPHER wades (towards the left hand) a stream which 
runs across the lower third of the diminutive rut. The water rises 
to the calves of the legs. The Saint support* himself with a tree stem 
which lie holds in the ri^ht haml. On his left shoulder -il.> the voutli- 
ful Christ Iteariii;.' :i cruciform iiimluiH. St. Christoplu-r i* chid in mantle and 
tunic. Tin- loi-miT ha- fallen to the waist, whence it llutters away in lar^e folds 





262 WOODCUTS. . 

on the right ; the latter stops at the knees. A few rocky elevations define the 
background ; a narrow border line encloses the whole. 

The print has been coloured in strong greens and rose madder, yellow ami 
light brown. 

[lj X 1 ' f in.] [Coloured.] 

D. 78. 
-VINT FLORIAN. 

MIDDLE OF THE FIFTEENTH CKXTUKY. 

(iKK.MANY. 
(Martyr. -J- 304.) 

T. FLORIAN a large figure clad in armour stands inclined u little 
forwards towards the spectator's left hand, and pours water from a 
bucket on the roof of a house in flames. A large and bordered nim- 
bus is over the Saint's head, and the long curled hair which falls to 
the shoulders has at the parting over the brow a circular and jewelled ornament 
.such as a woman might wear. In the right hand the armoured Saint holds the 
bucket, in the left a lance with a short pennon at the end. 

At the lower left hand corner of the print are some houses rising above an 
embattled wall, by the side of which is a circular tower ; by the tower are other 
houses. From the middle window of the tower issue flames, beneath which stands 
a man looking out of the window, and with clasped hands imploring the inter- 
cession of St. Florian. Flames issue from the door of the tower also, and from 
the roofs of some of the houses. 

The technical execution of this print is very bold and decisive, and the im- 
pression haa been worked off with deep black ink. It lias been coloured, and not 
uncarefully. The disc of the nimbus, the wall, the flames, and parts of the lance 
and pennon are of a deep red colour. The armour ig of a light brown tint. Green 
occurs on the roofs of three of the tiled houses and in the pennon. Below the 
feet of St. Florian and in the immediate foreground a former possessor has 
drawn a serpent, bearing on his head a crown, and darting a long red tongue from 
the mouth. This print has been very much damaged and much restored. 

[12 x 8 iu.] [Coloured.] 

D. 79. 
SAINT GEORGE AND THE DRAGON. 

EARLY PART OF THE FIFTEENTH CENTURY. 

NETHERLANDS (P). 

(Martyr. 4. 303.) 

IT. GEORGE, on horseback and in armour, occupiV.s the rrntre and 
greater part of the print. The horse gallops towards our right hand, 
where, at the lower angle of the cut, lies curled up in agony the dragon, 
which the Saint has pierced with his lance. Over the head "I M. 

.1 Imrdercd nimbu>. He wear* a kind of turban. \\ ith a mitral aigrette- 




SAINT GEORGE AND THE DRAGON. 263 

like ornament, from which rises a plume of feathers. He stoops forward over the 
horse's neck as he thrusts with botli hands his lance through the under jaw of the 
dragon. The horse is ornamentally caparisoned, gallops at and looks towards the 
dragon at his feet. Above the dragon and in the background at a level with the 
horse's head stands Cleodolinda the King's daughter clasping her hands low 
down before her, and gazing in suspense but satisfaction at the prowess of St. 
George. She wears a turban-like hat, having a central ornament and other 
decorations on the crown. Her long wavy hair descends to the elbows. Her 
mantle is open in front, allowing much of the tunic to be seen, the latter being 
girded at the waist. The mantle fulls in folds on the ground, concealing the feet. 
Behind and by the left shoulder of the Princess is the steeple-tower of a church. 
Directly above the head of the horse a bare tree rises on the hill. At the opposite 
side in the background is the castled residence of King Selene, from the battle- 
ments over the entrance to which gaze the King and his Consort at the doings of 
St. George. The Queen clasps her hands in thankfulness ; the King holds 
a sceptre before him. They have crowns on their heads. A moat separates 
the castle and buildings from the hilly foreground, the stream supplying which 
runs up from the lower left hand corner of the print. A swan floats on the water 
before the tower by the entrance to the castle. In the immediate foreground lies 
the upper part of a skeleton, and near it are ribs, thigh bones, and a shoulder 
blade. Above the right arm of St. George and close to the upper border of the 
cut the words " Sanctus Georgi 9 " have been added by hand in a green coloured 
ink. the same apparently as employed to colour the disc of the nimbus, the 
brunches of the tree and the ground. 

The technical execution of this print is peculiar, and the cut is one of much 
iiitrrr-t. The technic, the ink of impression, &c. recall the manner of some of 
the block books. 1 

The system of colouring adopted is of a very primitive kind. With the 
exception of the foreground, the general surface of an object is left plain, but 
the ornaments or other special portions of it are put in with red or green. 
Thus the bodies of the Saint and his horse are left intact, while the disc of the 
nimbus, a feather, a shoulder-plate of the armour and some parts of the trappings 
of the horse are of a dirty green ; the lance shaft, a feather, stripes on the Saint's 
turban, on the armour, the nail heads on the horse's hoofs, and the trappings of 
the horse are of a deep red. The tongue of the dragon and the blood flowing 
from his wounded jaw are red. The edges of the mantle of the Princess are red, 
her sleeves are green, as are likewise the draperies of King Selene and his Consort. 
I'>\ the side of the former lies what seems to be a red mantle. The roofs of the 
houses, the windows of the tower, and the narrow banks of the river are touched 
in with red. A broad opaque red coloured border encloses the composition. 

The watermark of an anchor with cross is present. The print has been 
somewhat damaged. 

[6 X 9|in.J [Coloured.] 

1 Anti-u, p. 2O6. 



264 WOODCUTS. 

D. 80. 

THE MASS OF SAINT GREGORY, WITH 
INDULGENCE. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 

(Pope. J 604.) 



UK sheet is divided into an upper and lower portion ; in the first is 
represented the " Mass of St. Gregory," in the lower are fifteen lines 
of an Indulgence in sharp Gothic xylographic text 

On the spectator's left hand in the upper division is placed the 
altar before which kneels St. Gregory with hands raised and joined before him, 
and looking at the apparition of the Crucified. He kneels on the first step of the 
altar. A nimbus is over his head, which is tonsured ; he is draped in chasuble 
and tunic, the latter lying in folds on the ground. Behind him is a tonsured 
deacon bearing the Saint's tiara. On the top of the low altar is an open tomb, 
from which rises the figure of Christ, who looks down towards St. Gregory. Our 
Lord is visible to the hips. A cruciform nimbus is present, and a close-fitting 
loin cloth may be seen below. The arms are crossed over the upper part of the 
abdomen, the right hand holding a rod, the left a scourge. Blood flows from 
various wounds. The hair of the head i- dense and dark, the beard thick but 
short. Behind our Lord stands an angel whose vestment is close at the neck and 
girded at the waist Behind the angel and touching the left hand border line of 
the cut are the pillar and rope of flagellation. Immediately by the right shoulder 
of the celebrant rises a tau cross, on the transverse limb of which hangs the wreath 
of thorns, and against it lean the reed with sponge and the lance. On the altar 
before the tomb are chalice and paten, open book and two candles. To the right 
of St. Gregory stand two Popes, each with tiara and nimbus. The one nearest St. 
Gregory bears a crook in the right hand and raises the left, pointing with the 
index finger to the wondrous apparition. He is draped in chasuble, tunic and alb, 
and is seen somewhat in profile as he turns towards the altar. The other person 
fronts the spectator, is draped in a mantle and long tunic, bears in the right hand 
a double cross and in the left a book. 

Colour has been resorted to of a somewhat pale tint The nimbi, cross, 
angels' vestment, loin cloth, ecclesiastical utensils, ornaments, etc. are yellow ; the 
wreath, rod, outer edges of the angels' wings, tiaras and ground are green. The 
chasuble of the celebrant is of pale madder, that of the attendant Pope with tlie 
crook of a deeper madder colour. 

The pictorial illustration is separated from the following text of the indul^i-inv 
by a narrow black line 

" 3D fycrr ibu jrpt anbett icb Dicb am ciiic; b.inpenDcn ein Durum firon uffDun 
baupt tragenDen. 3!c& bin Dic& D? Din creucj micb erloon toom ocblacbenDen encel. 
3) iirrr tbu r.pe anbett icb Dicb am cruet Dcrrmmttcn mit pall unD ecoicb cctrenc&r. 
jcb but Dicb D; Din touDen jjiprnDcm aincuipc miner oel 3men 3D berr ibu jcpt 
icb but Dicb Jnaa crab ceteet mu mnren unD toolriecbenDrn oatben eeaalfaett. Jtt) 
but Dicb Dt Dm toD fie min Icfaen A. 2D bef ibu I cute but faebalt Die eerecbten, 
Die otinDcr rccbtfemc unD erfaarm Dub alter ccloiifaipen toten unD fauat erncDic mu 



THE MASS OF SAINT GREGORY. 265 

0unDer amen. 3D bef tbu jf ieb bitt Dicfj umb Ti (?) toillen Dine0 liuens trie Du 
fill micb Diirfticcn baot gclittc am crucu befunDer unn allermeiot in D r 0tunD no 
Din alle rnlcotc 0el iet ufegeeancen ton trincm libe erbaime tncfo mlnf 0fl in mein 
uf0oan0 <*mcn. 3D her ifni jc anbette icl> nub ab0tieenDen <n urn bellen unD erlo* 
ccnncn Die ocfancncn. 'JcJ; bitt Dicb nit laoo micb Darin con amen. 3D her ibu 
jf anbett icb Dub uftcrotanDcn bon Den totte on iifpcftame ui Den himlf ufi 0it;enDZ 
511 Der recbterbanD D0 tjattcc. Jcb bitte Dicb rrbarm Dici) mtn 9mrn 

CClrr Dt0 ofaecccbrifaft bettlin nn to . pr nr mitt aDacbt epticbt bor Dem bHD 
D T 0QtiEteit got? Die 0ant oco s er0tbmn0t [cracheinst ?] bat fuii lot ablao too cant 
fltB 8 be0ttuget (?) bon mlgP faep0ten" 

A rather broad black border line encloses the whole design. 

x 7f in.] [Coloured.] 

D. 81. 

TPIE MASS OF SAINT GREGORY, WITH 
INDULGENCE. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

SWABIA. 

(Pope. % 604.) 

(No. 1 14, WEIGEL.) 

rX ME greater portion of the sheet is occupied with a representation of 
the Mass of St. Gregory. Below are ten lines of an Indulgence in 
xylographic text of Gothic characters. 

An altar occupies the middle of the composition, before which and 
in the immediate foreground at the left hand corner kneels St. Gregory with 
raised and joined hands, and looking up at the apparition of Christ. St. Gregory 
bears nimbus and tonsure, chasuble and tunic. Behind him and to the left stands 
a cardinal in red hat and cloak bearing i la- Saint's tiara. Our Lord rises erect 
at once from the upper surface of the altar, the open tomb being placed below at 
the opposite foot of the altar to the celebrant. He looks down towards St. Gregory. 
The arms are crossed at the wrists over the abdomen ; the legs are extended. The 
backs of the hands and feet show the wounds from the nails. Blood comes from 
these wounds, as also from the brow and the wound in the right side of the chest. 
A cruciform nimbus and long loin cloth are present. The head is inclined over 
the right shoulder, and from it hangs close black hair. There is not any beard. 

On the altar are chalice and corporal, two candles and an open book. The 
ntf|icinliiiiii is floriated, the step of the altar extends in the centre circularly 
outwards, the floor of the chapel is parqueted or chequered. From behind the 
Crucified and the back of the altar rises a cross. On the transverse limb hang 
ilir wreath, the lanthoni and garment without seam. On our left hand is a 
ladder, on our right a reed with sj>onge and a lance. In the space between the 
hidden ami the cross is a mocking head, three dice, &c. ; on the other side, below 
the L'annent. is u sudarimii, on \vhi<-h U the sacred head encircled l>v a cruciform 
niinl.ii-. Oilier hruds and instruments of the "Passion" are delineated on the 
background. 

A dhii-k liorden line encloses the whole design. 

Colour h:i- lieen resorted to. 

This print was formerly in the Weigel cabinet. 




266 WOODCUTS. 

The following is extracted from the "Arrange, etc.," vol. i. p. 197 
" All wood and metal work is of ochre-yellow colour, the garment of the Lord 
grey, the hair of the head and beard dark brown. The glory of Jesus is madder 
red, as also are the vestments of the cardinal, the pieces of drapery connected with 
the busts and hands, and the decorations of the altar and tomb. The upprr vr-t- 
utent of St. Gregory is of verdigris green, and also the ground, the frinjre of the 
altar-cloth, and the rod. The impression appears to have been taken off with 
the rubber; the ink of impression is of a brownish-black colour. Below tin: 
design is the following inscription in ten lines, the lines being separated from 
each other by transverse rules. (The inscription is damaged on the left hand 
side.) 

44 0er bcrre ibD0 jrpuo erocbein cant Srecorien ui LHomr in tier bur 

it man nennet poita crucio utf Hem aitar ibcruoalnn. unD. 

on uberoer freuDe Hie ei Da toon cnpbince Da cab er alien Den. 

- CfpcuGftcn bnpben unD mit antiacbt mit bicinr unD rutoe. oprc 

- UDater noeter unD epn a&e maria t>or Dpfcer fiour. also toil ap 

aDc ate in Deroelhen feircben uat. De0 iot tmcscbcntuscnt, 

unD totrcMc prboten Don ir lolicbcm crcho iar. unD 

- te toon ifllitbcm mrnifl Dace aplaa unD smt Da0 

occhfl jar aplao unD Die oros?c enaDa bcctcDio 

- &t 0anctu0 



The sharp nicked folds to be met with in all the draperies and the head-dress 
of Mary lead us to award our print to the third quarter of the fifteenth century. 
The text and the colouring, as also the technic, indicate Swabia as its place of 
production. On the left hand side the text and the figure of the cardinal who 
bears the tiara have been damaged. There is not any watermark present.' 1 (Op. 
cit. vol. i. p. 197-) 

[9f X 7| in.] [Coloured.] 

D. 82. 
THE MASS OF SAINT GREGORY. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 

(Pope. J 604.) 

N the left band side of the print is placed obliquely the altar with an 
open tomb, from which issues the figure of Christ visible to the pelvic. 
Before the altar kueela St. Gregory, his hands raised and joined in 
adoration as he gazes up at the apparition of our Lord. He ln-ar- 
nimbus, chasuble and tunic, and the tonsure. Behind him and to the right is the 
tonsured Deacon his secretary John (P) bearing his tiara. Our Lord has a 
cruciform nimbus, long dark hair and beard. Part of tliu loin cloth is visible. 
The hands are crossed over the abdomen, the right hand resting on tin- mam 
edge of the tomb, and showing the wound on its back. From hctwrrn tin- amis 
and the body proceed a rod on our left hand, a scourge on the right hand side. 
Hl<><> ' marks the body in various places. Above the nimbus of Christ runs the 
transverse limb of a tau cross, on which hangs the wreath of thorns on tin- h-ft. 
The spearhead leans against the right end of the cross. On the altar before the 
tomb are a chalice, corporal, open book ami miidlr. Above the nimlin- of St. 





THE MASS OF SAINT GREGORY. 267 

Gregory rises the pillar with the rope of flagellation. Behind the attendant 
Deacon is the reed with the sponge. 

A black border line encloses the composition. 

The print has been coloured in various shades, chiefly of pale brown. There 
in a little red on the body of our Lord and some green colour on the ground. 
The nimbi, cross, with reed and sponge are of a dirty yellow tint. A white 
ornament of foliage-like design on a black ground decorates the front and side of 
the altar. A bull's head watermark is present. 

[51 x 3j- in.] [Coloured.] 

D. 83. 
THE MASS OF SAINT GREGORY. 1 

SIXTEENTH CENTURY. 

GERMANY. 
(Pope. % 604.) 

HE altar is represented on the right hand side of the print running up 
obliquely towards the centre. The open tomb, over the side of which 
hangs the grave cloth, is on the ground by the distant end of the altar. 
Before the altar kneels St. Gregory, with raised and joined hands, 
looking up at the figure of Christ. The Saint seems bald rather than tonsured. 
A nimbus i- over his head. He is draped in rich ecclesiastical vestments, the 
tunic falling in folds on the ground. Over the latter, where the Saint kneels, is 
spread a folded piece of drapery, on which, where it rests on the step of the altar, 
lie- the tiara of the Saint, from beneath which extrude the ends of a stole. On 
the ornamental cross upon the back of the chasuble of the celebrant is represented 
the Crucified. Christ stands erect in a rather graceful though somewhat academic 
or artificial manner at the middle of the altar, close to its back edge. He seems 
to rest against the cross, which rises behind Him. The left foot is rather forward, 
the right lower extremity is bent at the knee. The arms are crossed at the wrists 
over the abdomen. A large loin cloth is present, one end of which passes through 
the thighs behind, and flutters to the right From between the arms and the body 
of our Lord proceed a scourge on the spectator's left, and a rod on his right 
hand side. A cruciform nimbus is over the head, and a large wreath of thorns 
encircles the brow. The head is inclined over the right shoulder, the counte- 
nance expressing a passive sorrow. Behind the cross are the lance and reed with 
.-!" ir.'e placed obliquely across each other. Behind these, on the right hand, is 
the ladder, and by its side a hammer and a sort of bucket. On the opposite side 
of ( 'hrist. is a mocking head and two hands. These are included within what may 
! termed the upright hack of the altar, which has an arched top, but is seen only 
in part. On the background, and directly facing the spectator, are five other heads 
and the sndarium, and also the thirty pieces of money, flagon, dice, flaming 
n, and other instruments of the "Passion." At the left limit of the design 
and from beside the tomb rises the column with the rope of flagellation. < >n the 
top of the capital of the first stands the cock, and as if crowing. On the altar 
it -i If are the vessels, &c. of the Blessed Sacrament, a closed book and two 
candles. The altar cloth has a narrow fringe: there is a richly ornamented ante- 
pendinm with fringe also. The altar step at the .idc project- in the middle in a 

1 On thi- Mibj<< i. -cc CahitT, " < 'aracU'risticji \ ol. ii. p. 553. 



268 WOODCUTS. 

circular manner and curves at the angles. The ground is pavemented, the lines 
of the pavement running up perspectively to a point of sight outside of the coin- 
position. At the bottom of die cut at the left corner are the initials S. D. 

A black border line encloses the composition. 

Colour has been applied, but in shades of yellow only, with the exception of 
the stole, which has been tinted green. 

On the verso of the print are two columns of Latin text in fine large Gothic 
typographic characters. 

This print was formerly in the possession of Mr. Ottley, and Nagler was con- 
versant of its existence, but had never seen it. He alludes to it " Monogram- 
misten," vol. iv. p. 1 1x8, No. 4022 under the initials S D. Nagler, however, 
fell into a mistake in supposing this print to have been the work of an old German 
master of the middle of the fifteenth century. The design and technic belong to 
a period three-quarters of a century later. In the figure and engraving of Christ 
the influence of the School of Dilrer is surely apparent. 

[8| X 6^ in.] [Coloured.] 

D. 84. 
THE MASS OF SAINT GREGORY. 

SIXTEENTH CENTURY. 

GERMANY. 
(Pope. % 604.) 

; O the left are the altar and the tomb, from which rises the figure of 
Christ. On the first step of the altar kneels St. Gregory, with raised 
and joined hands, looking up at the appearance of our Lord. The 
Saint is tonsured. A Cardinal behind, and to the right of the cele- 
brant, bears the tiara of the latter. Christ has a cruciform nimbus, but the loin 
cloth is not visible. He extends both the arms, and opens the hands as if to show 
the wounds in them. Above the nimbus rises a cross. On the altar are a large 
chalice and open book. Not any instruments of the Passion are represented. 

A black border line encloses the design. The print has been coloured. It is 
unimportant in character. 

[3* x 2f in.] [Coloured.] 

D.8 5 . 
SAINT JEROME. 

MIDDLE OF THE FIFTEENTH CENTURY. 

SWABIA. 
(One of the four Fathers of the Latin Church. Cardinal. J- 420.) 

LARGE and fine example of its time. St. Jerome, a majestic figure, 
stands erect, but with the head slightly inclined over the right shoulder, 
as he looks down on the lion at his feet. He is habited in a cardinal's 
dress and hat, and bears a bordered nimbus. From beneath the hat 
descends the pluviale over the shoulders to the chest. The cloak is full, with 





SAINT JEROME. 269 

large folds, which fall upon the ground, concealing the feet It is bordered and 
lined with ermine. The long green cords of the hat descend to the ground, and 
are partly hidden below beneath the red vestment ; the green cords have red 
tassels. St. Jerome bears a cross on the right arm, the lower end of its staff 
doccnding between the hind-legs of the lion. The cross at the upper extremity 
is traversed at the point of decussation of the upright and transverse limbs by two 
fine lines crossing each other also at the point mentioned, forming as it were a 
second cross with equal limbs placed obliquely over the chief one. St. Jerome 
supports both a book and the hat cords with the same hand as retains the staff of 
the cross in situ and some of the folds of his dress. The right hand is extended 
through the hanging sleeve of the cloak downwards to the lion. The latter rises 
from the ground on his hind-legs towards St. Jerome, placing his right paw on the 
right leg of the Saint, and advancing his left paw to meet the right hand of the 
Saint, who appears to take from it a thorn. The lion is full maned, throws the 
head upwards and backwards, and places his long tail between his legs. 

On the left hand side (to the spectator) of St. Jerome, and above the lion, runs 
an upright and bordered scroll, on which are the words, " &>anctU0. BCrongmofl " 
in Gothic characters. 

The foreground rises but to a short distance above the feet of St Jerome. 

A double border line encloses the composition. 

The ink of impression is of a light brown colour ; both drawing and technic 
are firm and incisive. The drapery is large in character and well cast, though 
some of the folds are angular and hooked at the ends. The shadows are indicated 
with short parallel oblique lines placed somewhat far apart. 

The print has been coloured. The Cardinal's habit is of a deep red madder. 
The hat and rim are of a paler red, the lining being of a very faint hue, while the 
cords are green. The nimbus, cross and space between the border lines are 
yellow ; the lion is of an orange colour, deeper in tone over the mane and back. 
The ground, one border of the scroll, thorn and cover of the book are green ; the 
other border of the scroll is of a pale madder red. A layer of gummy varnish has 
been passed over the Cardinal's habit. The print has suffered some damage, and 
has been lined. 

[l6| X lOjin.] [Coloured.] 

D. 86. 
SAINT JEROME. 

MIDDLE OF THE FIFTEENTH CENTURY. 

SWABIA. 

(One of the Fathers of the Latin Church. Cardinal. { 420.) 
(No. 87, WBIOEL.) 

'. JKIM >MK is represented seated in the middle of the design with his 
kick to a reading-desk, which is on our right hand side of the print. 
He is seen in full faec. hut in action is directed towards our left, on 
which side is placed the lion. St. Jerome wears a cardinal's hat, 

l>el<>w wliieh ilrsreiuls the plurinlp. \ bonlereil niml>in i over his head. 
The rwls iif the ei.nls of the hat lian-j over the edge of tin- mantle in front of the 
chest. The deep red mantle fulls in fold-* upon the ground, concealing the t"-.-t. 




270 WOOD i rr<. 

Below is exposed a small part of the tunic. The Saint looks down nt the lion. 
seated on his haunches on the left upon the large flat base of a step to the de^k. 
He raises the left paw to the right knee of the Saint, who extracts the thorn from 
it with an instrument having a handle like a tau cross. St. Jerome touches the 
lion's left paw with the index finger of his left hand. The lion allows his right 
paw to hang extended in the air. He looks attentively up at the Saint as the 
latter relieves him of his trouble. The animal is somewhat heraldic in character. 
full-maned and long- tailed, the tail lying along the edge of the dais of the desk. 
In the countenance of the animal there is a kind of humanity nevertheless. 

On the desk behind St. Jerome is an open book, behind which rises a little church 
or tabernacle, the door of which is half open. At the side is a large round arehed 
window. At the side of the desk itself are little doors with large hinges, one of 
the doors being slightly open. The front of the desk is carved in a Gothic 
decorative manner. On the left hand side, behind the lion and St. Jerome, rises a 
kind of round arched cloister, the roof of which touches with its pinnacles the top 
border line of the cut, while one of the supporting columns descends to the plat- 
form of the desk. 

The print has been coloured. The colour is bright madder carmine, with 
green and yellow employed in broad masses. The ink of impression is black, and 
the print has been worked off with the press. 

The principal figure is well posed and fairly delineated; the folds of the 
drapery are soft, full and well cast, and the technic is clear and determinate. 

This example is well preserved, clean and fresh. The paper is white and 
strong ; the watermark is a Gothic JJD. 

[10^ x 7f in.] [Coloured.] 



D. 87. 
SAINT JEROME. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
8WABIA. 

(One of the four Fathert of the Latin Church. Cardinal. ( 420.) 
(No. 187, WHKIKL.) 

DOUBLE action is represented in this example. St. Jerome, as 
Cardinal, relieves the lion of his trouble, and he performs penance at 
the foot of the cross. 

In front to our right sits the Saint habited in a cardinal's dress and 
hat. A nimbus is present. The body is inclined forwards and downwards, the 
head leaning slightly over the right shoulder as the Saint attends to the lion at his 
feet. The latter sits to the left before the Cardinal, looking up at him as if thank- 
ful, though anxious, as St. Jerome draws the thorn from the lion's right paw. 
This paw rests on the knees of the Cardinal, the left paw being placed on the 
Cardinal's dress. The lion throws back his head, opens his mouth, and holds the 
tail, curled, yet erect over his back. By the right side of St. Jen.nie, ami above 
the lion, is a desk, on which lies an open book. Above the latter lies a pince- 
nez, and below it a book-weight or marker. 1 Behind the Saint, and towards our 

1 Antca, p. 110, B. 29. 







SAINT JEROME. 271 

right hand, is a chapel or cloister, with a small cupola on the roof surmounted by 
a little cross. Three Gothic arches and columns are at the side, and a round arched 
doorway at the front of this building. 

To the left of the building is represented the second, or penitential action. 
Tin- Saint kneels on a rocky eminence, tears open his tunic at the breast with 
the left hand, while with the right hand he is about to strike his naked chest with 
a stone which he holds in it. Blood flows from the chest already injured. A 
nimbus is over the penitent's head ; his feet are bare ; close to the latter lies a 
cardinal's hat, and on the other side crouches a lion. From the rock between 
the lion and the chapel rises a Cross with the Crucified, from whose wounds stream 
blood. St. Jerome gazes up at our Lord as he performs his penance. On the 
eminence at the background behind the Saint is a small chapel with belfry, to 
which leads a winding-path from below. Behind the Cross on the line of the 
background are the towerg of several buildings. This cut was formerly in the 
\\eii_rel collection. 

" The drawing," remarks Weigel, " is firm and sure, the expression in the 
countenance of the Saint is full of character ; the drapery is natural, and the dis- 
position of it particularly of the thick material of the upper vestment well 
managed. The folds are hatched. Perspective is wanting, and the rocks are 
represented with a rough mannerism, but with the shadows hatched. 

" The technic is clear and sharp ; the ink of impression is a black water colour. 

" The system of colour adopted is that of the ' briefmaler ' and of the schools 
of Augsburg or Ulm. The upper vestment and hat of St. Jerome are of a bright 
madder red ; the under garment, the shadows of the rocks and the building are of 
a nut-brown colour of various degrees of shade ; the grassy banks, paveinented 
ground, church roof, are of verdigris green ; cupola, church columns, cross, nimbi, 
desk, and lion are yellow. The sky is shaded from above downwards with washes 
of brown colour. The paper has the texture of Swabian paper which has been 
pressed with felt. The print was formerly fixed within the cover of a book printed 
in 1 480, and, judging from the form and hatchings of the draperies and from the 
buildings and rocks, itself might belong to that time. 

" A broad black border line encloses the composition. A watermark is not 
evident" (Op. cit. vol. i. p. 294.) 

[lOf x 7 1 in.] [Coloured.] 

D. 88. 
THE PENITENCE OF SAINT JEROME. 

MIDDLE OF THE FIFTEENTH CENTURY. 

SWABIA. 

(One of the four Fathers of the Latin Church. Cardinal. [ 420.) 
(No. 93, WEIGEL.) 

. JEROME is here represented as penitent. He kneels in the fore- 
ground of a rocky and hilly landscape, looking towards Christ on the 

Cross who occupies (lie upper HL'lit hand |.i.rtii>n of tin- kicki-mimd. 

The Saint is clad in a short tunic open over the chest. The lep* and 
forearms are bare ; a bordered nimbus, with rayed disc, is present ; the hair of the 
head and the beard are black and dense. The penitent raises both arms. In hi* 
right hand lie L-ra-p- a stone u herewith to -trike hi- chest : with the finders of the 
left hand he points towards the Crucified. I'.v (lie knee* ot'St. .Icroinc. and in thi- 




272 WOODCUTS. 

lower right hand corner of the print, sits a lion, who gazes up at him with open 
mouth and raised right paw. The lion is full-maned, and curves up his tail 
parallel to the line of his back, recurving the tip of it. On the other side of the 
penitent lie on the ground a cardinal's hat and a book, one above the other ; the 
cord and tassels of the hat touch the lower border line of the cut. On our right 
rises the Cross from a mass of clouds. Our Lord is dead ; the head droops over 
the right shoulder ; a wreath of thorns is around the brow. The hair of the head 
is black and long. One end of the loin cloth projects and falls over on Christ's 
right side. On the summit of the hilly background are buildings and trees. Imme- 
diately above the nimbus of St. Jerome is a tree, towards which runs a doe looking 
back, as if at the figure of our Lord. There is much foliage scattered about the 
landscape, and trees of different characters are represented. Crevices in the 
rocky parts and tree-stumps elsewhere characterize the scenery. 

The drawing appears coarse from its thick lines ; the perspective is deficient, 
and the colouring not over-careful. The colour is madder red in the drapery, 
border of the nimbus, book cover, roofs of the houses, and certain parts of the 
ground. The trees and hills are green ; the doe and lion, cross, &c. are of a light 
brown colour. 

A black border line encloses the composition. 

There is not any watermark present. 

fioj- X 7 in.] [Coloured.] 



D. 89. 
THE PENITENCE OF SAINT JEROME. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 

N the foreground of a rocky, hilly landscape kneels St. Jerome, a h'ttle 
on our right In action he is directed towards the left, where, in the 
background, on a rocky ledge, is the Cross with the Crucified. Over 
the head of the Saint, which is tonsured, is a bordered nimbus. "With 
the left hand St. Jerome pulls aside the garment from his chest, which he has 
just struck with a large stone held in his right hand. The marks of wounds are 
on the chest The tunic of the penitent has large loose sleeves, and is girded at 
the waist The feet are bare. To the left is the lion a most strange-looking 
animal crouching below. Between him and the penitent's knees lies a cardinal's 
hat Above the hitter is a large closed book, on the cover of which lies a scourge. 
Above the book are some rocky ledges, on the uppermost of which is the Cross 
with the Crucified. A row of trees and some rocks limit the landscape background 
behind St. Jerome. Above these is a scroll, on which is inscribed in Gothic cha- 
racters 

" $ancte IJeronime a p nobi0." 

Between St Jerome and the right hand inner border line of the print runs a 
long waved scroll downwards to the angle at the lower right hand border line. 
The convoluted upper end of the scroll appears to issue from the penitent's left 
ear. On this scroll are the words 

" ftine comrDo, omc bibo, cine aqua (?) nliuti fam 0p muebit in ilia nor trnhlr 
i autibuo mci0 toonare 0tir(utf mortw toenite aD juDiemm." 




THE PENITENCE OF SAINT JEROME. 273 

Below the pictorial design in a margin 1^ inches wide are four lines of con- 
tracted xylographic text in sharp Gothic characters. 

A double border line encloses the whole, the outer border line being much 
broader than the inner one. 

The print has been coloured. The nimbi, cross, lion and foreground are 
vrllciw, the hills and foliage are green, and the rocks of a light brown madder. 
The stone which St. Jerome holds in his right hand is strongly indicated ; the 
tunic is left nearly plain or the ground of the paper, except in a few shallow places. 
The space between the bonier lines has been tinted of a yellow colour. 

The inscription in black letter below is on a pale yellow ground ; it has been 
torn away at the left hand lower corner. 

[7ir X 5| n O [Coloured.] 



D. 90. 
SAINT JEROME. 

LATTER PART OP THE FIFTEENTH CENTURY. 
GERMANY. 

DOUBLE action is here represented St. Jerome as Cardinal relieving 
the lion, and St. Jerome as penitent in self-mortification before the 
Cross. 

St. Jerome, in cardinal's hat and cloak, sits with the back to a 
desk on the right of the composition. A nimbus is over his head ; his feet are 
hidden by the folds of the drapery. Before him is a lion with the right paw 
resting on the knee of the Saint, and the left raised towards the right hand of the 
Cardinal, who appears as if about to extract the thorn. The lion opens his mouth, 
looks up at the Cardinal, and places his tail between his legs. On the desk behind 
St. Jerome is an open book, and before him runs up a stony pathway to the 
middle distance of the composition. A little above on a hill towards the left hand 
is the Cross, on which is the Crucified. Before it kneels St. Jerome with nimbus 
and large mantle. The latter is open over the chest, which the Saint has struck 
with a stone he holds in the left hand. The right hand is extended and slightly 
raised towards the Cross. Behind the penitent at his feet is the lion a very 
M range animal. Before him lies the Cardinal's hat. In the background above 
the Cardinal and the desk are some rocks in the background. 

The print has been coloured. The draperies and rocks are of brown madder, 
the nimbi, cross, desk and pathway are yellow, the hills and foreground are green. 
The close-fitting sleeves below the Cardinal's mantle have been shaded bright 
blue. 

A border line encloses the composition. 

[5f X 3 in.] [Coloured.] 





274 WOODCUTS. 

D. 91. 
SAINT HUBERT. 

MIDDLE OF THE FIFTEENTH CENTURY. 

SCHOOL OF BURGUNDY (?). 

(Bishop. fi 727.) 

[HIS curious and interesting print attracted the attention of Dr. Waagen, 
who thus remarks concerning it 

" The well-known subject of Saint Hubert kneeling before the stag 
witb a crucifix between its horns is here represented with a few pecu- 
liarities new to me. On the right of the kneeling Saint, and next to the stag 
opposite him, only the foremost half of which is seen, is a boy kneeling, of monkey- 
like face. In front of the Saint is a dog kneeling with his fore legs, while the hind 
legs still express the act of running. Further behind and only partially seen are 
two other dogs, the foremost of the two also kneeling. Quite on the right [spec- 
tator's left hand] and in the middle distance is the horse turning his head round. 
An angel is seen descending with a stole painted of a crimson colour. The other 
portions also, with the exception of the flesh, are almost all illuminated. Along 
the upper border, in a Gothic minuscule letter difficult to read, is the following 
inscription 

" ' Sanctus Hupertus zu atre (?) in lotringen.' 

" Hanging by threads to this inscription are two slightly indicated coats-of- 
arnis. Drawing and motives are good, and the treatment very simple ; for, besides 
the tolerably delicate outlines, there is only a very modest indication of shadows. 
The printing ink is powerful. Judging from all circumstances the work can hardly 
be much later than 1 440." (" Supplement to Art Treasures in Great Britain," 
vol. iv. p. 48.) 

Notwithstanding the inscription being in German, we are inclined to believe 
that the author of this design was of French or Flemish origin, or belonged to -the 
Burgundian school of Art. The actions and attitudes of both animals and figures, 
and the style of the drawing, lead us to this conclusion. 

The design appears to us also to have been drawn with a fine reed pen on the 
original block, and the engraver to have imitated in the technic the work peculiar 
to pen-and-ink sketching. The colour seems to have been laid on, in parts at 
least, with stencils. 

For the traditions connected with St. Hubert, Mrs. Jameson's " Sacred and 
Legendary Art " (ed. 1850, p. 431) may be consulted. 

[?T x $T in O [Coloured.] 




SAINT PETER MARTYR. 275 

D. 92. 
SAINT PETER MARTYR. 

THIRD QUARTER OF THE FIFTEENTH CENTURY. 

SWABIA. 

(Dominican, Inquisitor, Martyr. J 1252.) 
(No. 162, WEIGEL.) 

|T. PETER MARTYR stands erect, in action turned towards our 
right. The tonsured head is cloven by a short strong sword, the 
stroke of which has been directed from behind. Over the head is a 
nimbus. The Saint is in the habit of the Dominican Order, and holds 
a palm branch upright in the left hand. In the right hand is a closed book, and 
some folds of the drapery. The pointed feet protrude a short distance beyond the 
white cassock. The foreground does not rise much above the ankles. The back- 
ground is plain. 

The drapery is well cast, the drawing good and remarkably firm and decided. 
The print has been coloured. It was once in the possession of T. O. Weigel, who 
remarks in connection with it 

" The Saint stands on ,a green bank, the background is ochre-yellow, the 
margin of the print cut away to a narrow line, above and below consists of a red- 
brown stripe three lines broad originally madder red within two lines. The 
drawing is correct, but somewhat angular and hard, the lines are strong and 
powerful. The ink of impression is a greyish-black water-colour ; the rubber 
has been employed. The colouring has been tolerably careful. The mantle is 
greyish-black, the hair and book nut-brown in colour ; the palm and bank are of 
verdigris green. The face is of a pale cinnabar red. Background, glory and 
sword-handle are ochre-yellow, the sword-blade and under garment are white. 
The folds of the drapery shaded with hatched lines, and the sword, which is like 
that of the figure of St. Peter Martyr on the genealogical tree of the Dominicans 
of the year 1473 (No. 187), speak for the end of the third quarter of the 15th 
century. The technic and colour point to the Swabian school. The paper is 
destitute of watermark, and simulates in its texture the Swabian paper pressed 
with felt." (Op. cit. voL i. p. 250.) 

[7 x 4|- in.] [Coloured.] 

D. 93, i, and 93, 2. 
SAINT SEBASTIAN. 

(ORIGINAL. I. AST QUARTER OF Till: 1 Ml TKKNTII CENTURY.) 

SWABIA (?). 
(Martyr. Jfr 287.) 

HKSH examples appear to be copies of an old woodcut .f the martyr- 
dom of St. Sebastian described by Weigel in the " Anfimge, etc." vol. i. 
l>. l~l 5, n. 179. The present writer has an impro-ion of the same 
original. 
Si. > :i-ti:ui :i lirurdl.-s, Mini youn nuin with a bordered nimlm-. :in.l 




276 WOODCUTS. 

undraped, with the exception of having an extremely narrow loin cloth, stands 
bound to a tree in the centre of the design. He is directed in action towards the 
right of the spectator, but the head is inclined over the Saint's right shoulder. The 
hair is parted in the middle and falls over the shoulders. The left arm is bent 
above the head and secured to the tree-stem by a cord at the wrist. The right 
arm is dependent, and bound below the elbow to the tree by a double cord. The 
right leg is advanced and free, the left is drawn back to the tree-stem, to which it 
is secured with a double cord. An arrow pierces the left arm, the left axilla, the 
median line of the abdomen, the right thigh above the knee, and the right arm 
halfway between the shoulder and elbow joints. The Saint looks down at a man 
in a turban, seated on the ground at bis right side, who appears to be preparing a 
crossbow or small catapult, wherewith to injure him. Behind and to the left of 
this man are two erect figures ; the nearer one is bearded, wears a sort of Phrygian 
cap, and places the right hand within the fold of his cloak, while he points with the 
index finger of the left hand at St. Sebastian and turns to the spectator. The other 
man is bareheaded and is discharging a crossbow at the Saint before him. On the 
other side of the martyr are also two men. The nearer one, in a close-fitting cap, 
short jacket, and hose, is about discharging an arrow from a bow he is bending. 
The person behind him looks on, he is bearded and wears a flat cap. The puffed 
sleeves at the shoulders of the jacket of the man with the bow and arrow, and 
the black, long-pointed shoes of all the draped figures are noteworthy. At the 
top of the print between St. Sebastian and the man with the bow and arrow is a 
tun, the transverse limb of which abut* on the upper border line of the print. 

Below this pictorial representation are eleven lines of German text xylogra- 
phic in the original in Gothic characters. The text is as follows 

" D DU ciiltcer $eba0tian toic cro00 ict t>ein elaub 13tt fiir micb Deinen Dicnern 
Clnorrn berrn Ibm jcpTTl Da0 icb Dor Dem libel De0 flebreeben0 tier pestilent? brbiirt 
toerDe 33itt fiir uno Du bajlioer Sebastian Dae tarir Her cliibte uncero berren toirDie 
toerDen. 

44 ailmaebticer etoieer got Der Durcb Da0 bemienl unD eebet, De0 baplice mar* 
trcra cant fteba0tian0 tor Hem oemaine cebre0ten Der pestilent; D? mcncche cnaDt* 
c lichen faebiietent bi0t. flier lihc all D? Die bitten oner Di0 eebet bei in tragen oDer 
anDacbtic&Iicbe oprecb, in De0 Die celbioe tor D? ccfareote bebuet torrucn unD 
Durcb getruen Deooclben haphccn 11110 tor aller faetrucbnrso un cncoten Ieb0 unD Der 
eric erteDicbt toerDen amen." 

A narrow black border line encloses the whole. 

These copies are uncoloured. They have not been executed by one and the 
same process. We suspect D. 93, 1 , is the result of a photo-lithographic or analo- 
gous procedure, while D. 93, 2, is perhaps from a metal plate engraved in relief. 

Weigel, describing his coloured impressions of the original woodcut, remarks 
" We possess a recent nncoloured impression of this print, the wood block must, 
therefore, be still in existence." " The dialect on our print is Swabian ; we must 
consequently assign it- origin to Swabia. The colour speaks most for Freising and 
Bavaria. In the collection of engravings at Munich is a woodcut which accu- 
rately represents the figures of our woodcut, and in a like grouping. The text 
fa essentially the same, but deviates from it in some forms, e.g. diener for difnt m. 
gebrechen for det gebrecheng, Bit for Bitt, hailigen martterers for hayligen mar- 
trert ; gemenien gebrechen for gemainen gebresten ; gnadiglich bekuten mst for gnd- 
dichlichen behuetent bist. From this it would appear that the Munich piece is a 
copy of our print, and is consequently of later origin. Alike text is on the "St. 
Stephanus," with the date of 1437, from the convent of St. Blasius, and now in 
the Imperial collection of engravings at Vienna." (Op. cit. vol. i. p. 277.) 

The figure of the tau f in tliis print was the source of a strain." 1 ini-ci.n- 
crption on the part of not less a person than the recent editor of Napier's " Mmm- 
grammisten." Under letter T, vol. v. p. 95, No. 459, the tau is d<- -i -il.c.l :i s the 






SAINT SEBASTIAN. 277 

letter T, the mark of a Master T. of the fifteenth century. The fact is, the mark 
in question is not intended for a letter at all, but as the symbol or sign of the tau 
Cross, which we have been already told on D. 47 (antea, p. 234) 

" Das got der herr Moysi in der wiiste gab das das volck nit sturb an der 
pestilentz," &c. 

This tau symbol is very commonly met with in connection with St. Anthony. 
It figures on his cloak, or he holds a staff with a tau-shaped top in his hand, or it 
is in some other manner associated with his person. Now St. Anthony was one of 
the intercessory saints, and his aid and protection against a pestilence and par- 
ticularly against erysipelas or "St. Anthony's Fire," and dry gangrene produced 
by using cereals affected with ergot, were greatly sought after by prayer and respect 
paid to his effigy. Hence the sign against a pestilence that " God the Lord gave 
to Moses in the Wilderness," was so commonly an attribute of St. Anthony. 

From St. Anthony it was passed on to St. Sebastian, who in the fifteenth 
century was the other chief intercessory and popular Saint against a pestilence. 
Here in the print before us (D. 93) we have a representation of the martyrdom of 
the Saint, and below pious ejaculations for his aid and intercession against pestilence. 
Above is the sign of the tau of the wilderness, symbolizing the special efficacy 
of the martyr's power, as it does in the case of St. Anthony. 

If reference be made to D. 75 (anted, p. 259), representations of these two 
great helps against pestilence may be seen presented on one and the same sheet, 
St. Anthony alone, however, bearing a tau. 

Such is our opinion as to the meaning intended to be conveyed by the asso- 
ciation of a tau with St. Anthony and St. Sebastian, at any rate during the four- 
teenth and fifteenth centuries. An authority for whom we have respect has 
taken a somewhat different view, however, of the meaning of that symbol in rela- 
tion to St. Anthony as depicted at any earlier period. 

" In the Greek pictures," writes Mrs. Jameson, " and in the schools of art 
particularly influenced by Greek traditions, the figures of Anthony, besides the 
monkish garb, bear the letter T on the left shoulder or on the cope ; it is always 
blue. In Revelations xiv. i. the elect who are redeemed from the earth bear the 
name of God the Father written on their foreheads. The first letter of the Greek 
word Theos, God, is T, and Anthony and his monks are represented bearing the 
T. . . . . ' For these are they which follow the Lamb whithersoever he goeth.' 
. . . . ' These were redeemed from among men, and in their mouth was found no 
guile, for they are without fault before the throne of God.' 

"Inn specimen of painted glass (from St. Denis) a man in a turban or crown 
marks another with the tau on the forehead, and over the whole in Gothic letters 
is inscribed 

' ftignum 






(" Sacred and Legendary Art," p. 441.) 

The following extract is from Weigel, " Anfange, etc." Tol. i. p. 112, 
No. 64 

" In connection with our print of St. Anthony three objects may be remarked 
which are more or less enigmatic in meaning, and have been variously explained 
then-fore. These are the Cross in form of a T ; the little bell, and the pig. As 
regards the Cross, which under this form has been termed the * Antonius Crow,' 
and also the ' Egyptian Cross,' and is borne by Anthony on his staff, and on die 
left shoulder, a satisfactory interpretation is as far as we know wanting." 

" Some find in the T the beginning of the word Theos (Qi6< ), written with Latin 
characters, which Anthony liore on his cloak, as did the elect of the Apocalypse, 
xiv. i." 

The subject of the tau is a wide one unquestionably, and if we did not here 
chock ourselves we might be found involved at last witli the crux axsala of the 
Egyptian monument and with the symbols of Phallic worship. 



278 WOODCUTS. 

In relation to the attributes of St. Anthony, reference may be made to Cahier's 
" Caractcristiques, etc." vol. i. p. 132. 

Some remarks by the author on the meaning of the tau in connection with 
SS. Anthony and Sebastian may be found in the "Athenaeum," No. 2570, 
January 27, 1877. 

7i in.] [Uncoloured.] 




D. 94 . 
SAINT WOLFGANG. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

(Bishop. -J- 994.) 
(No. 1 28, WJSIGEL.) 

. WOLFGANG stands erect, but slightly directed in action towards 
our left hand. He is mitred, a nimbus encircles the head. He bears 
on his right hand the model of a church with two towers, and holds 
erect with the left hand a hatchet of a form common during the latter 
part of the fifteenth century. 

St. Wolfgang is habited in casula, tunic and alb, the alb trailing slightly on 
the ground. The entire figure makes a rather elegant whole, detracted from 
but by the model of the church. The foreground rises just above the ankles of 
the Saint. A broad border line encloses the design. The impression has been 
worked off" in light brown water-colour, probably with the rubber. 

The print has been coloured. The chasuble is of madder red, the tunic is 
brown, the alb and nimbus are yellow in colour. The foreground and roof of the 
church are green, the walls and towers of the latter pale red madder. Thegrrrn 
colour here employed particularly as it appears in the mitre seems more like 
emerald green or arsenite of copper than acetate of copper or verdigris. We 
would apply the same remark to the green colour of several other old cuts which 
have been supposed to have been coloured with the acetate of copper. " The sky is 
slightly tinted with a pale brown colour, as it is in the illustrations to works printed 
by Zeiner ; the technic in its general character agrees with the work of the school 
of Upper Germany. The church is like the cathedral church of Munich. The 
towers on our print have exactly the bulbous tops of the Church of Our Ladye at 
Munich. 

The folda of the drapery, the hatchings of the folds and the form of the trailing 
alb, point to the third quarter of the fifteenth century. Passavant, " Peintrr- 
Graveur," t. i. p. 24, allots the print to about the middle of the fifteenth century ; 
a watermark is not observable. (Weigel, loco, vol. i. p. 2 1 3.) 

[5| x 2f in.] [Coloured.] 




SAINT BARBARA. 279 

D-95. 

SAINT BARBARA. 

MIDDLE OF THE FIFTEENTH CENTURY. 

ULM. 

( Martyr. -fi 306.) 
(No. 88, W B i G B L.) 

f T. BARBARA stands erect, directed in action towards the spectator's 
right hand. Both crown and nimbus are over the head, the fair hair of 
the latter descending below the waist. In St. Barbara's left hand is a 
circular tower with conical roof, within which is the symbol of the 
Blessed Sacrament. With her right hand the Saint supports some folds of her 
mantle, which is open slightly in front above and below, exposing the tunic. The 
latter descends to the ground and inner border line of the print, and conceals the 
feet. On our right ham 1, by the side of the Saint and below the tower, a palm 
branch springs up from the ground. The latter rises to a short distance above 
the ankles. A border line encloses this design, which measures 5 ] by ,} : inches. 
Beyond is a plain margin of unequal size, above, below and laterally. An orna- 
mental framework, nearly an inch wide, with a narrow border, surrounds the 
whole. The ornamentation of the framework in which the design is set consists 
of large arabesque floriation, or of acanthus leaves, the leaves being entwined around 
a central bar or rod. 

The print has been coloured. The mantle of St. Barbara, the ornaments of 
the crown, the shadow side of the tower and alternate leaves of the frame are of 
crimson madder ; the nimbus, gold framework of the crown, hair and central bar 
of the outer frame are yellow in colour ; the palm branch, ground and alternate 
leaves of the outer frame are green. The tunic of the Saint and the ground of 
the ornamental border are of a deep grey colour. 

The pose of the figure is good, and the cast of the drapery commendable ; but 
the features are too large in proportion, and the right arm and hand are too small. 
Some defect of the block or of the impression has influenced the appearance of the 
left hand and base of the tower. 

Part of a watermark probably of the bull's head, with stalks and nodules 
may be observed near the right shoulder of the Saint. 

[7f x 5f in.] [Coloured.] 



WOODCUTS. 




SAINT BRIDGET OF SWEDEN. 

FIRST PORTION OF THE SIXTEENTH CENTURY. 

NETHERLANDS. 

(Fovndreat of the Order of Brigittines. f 137 3-) 
(No. 226, WKIGEL.) 

|[T. BRIDGET is seated at a desk writing her " Revelations," which 
appear to be dictated by an angel standing behind her left shoulder, 
on which he place.*) his hands. Over the Saint's head is a bordered 
nimbus with rayed disc, and on it also a plain arched crown. 
She is clad in wimple and veil, monastic habit and tunic. As she sits at < lie- 
desk she is turned towards our left, where, on the desk before her, is an open 
book, on which lies a length of parchment roll. On this roll St. Bridget is writing 
as the angel dictates to her. Behind and over the figures at the desk rises a simple 
canopy, below the roof of which is the symbol of the Holy Spirit surrounded with 
a glory. On the left of the canopy is God the Father, supporting before Him the 
figure of God the Son. A bordered nimbus is over the head of the former, a 
radiant glory over that of the latter. God the Father has on his head a tiara-like 
crown. On the opposite side is the Virgin, holding on her right arm her Divine 
Son. A crown and bordered nimbus are on her head ; a cruciform nimbus is over 
the head of Christ. 

The small figures on each side of the canopy rest their feet on clouds of 
conventional form. Below the Virgin and Child, and between the angel and right 
border line, is a pilgrim's staff, having at the upper end a pilgrim's hat and wallet ; 
below a crown, beneath which is a shield, bearing the Lion of Sweden. On a scroll 
above the desk are the words, " buut . Utl . BOUDf." in small Gothic characters. 

At the lower part of the print is a margin nearly half an inch wide, having at 
the middle a shield party per pale, three six-rayed stars, dexter and sinister. 
This shield divides two lines of inscription, which are contained within the margin. 
The words of the upper line are " ft faircitta . princc00e . tat)? rp&e . nericia." < >n 
the lower line are the words, in larger characters, "^fiaria " *' Cterte ", each word 
having a large six-rayed star before and after it. A double border line encloses 
the composition. 

The inner border line is arched at the top ; the outer line is continued beyond 
the flattened arch so as to form, in connection with the whole, a square border line. 
Wiiliin tin- angles at the upper part are trefoil ornaments, like those in the arches 
of the Latin edition of the " Biblia Pauperium." 

This example formed part of the Weigel collection. Weigel remarks that 
" It is very neatly drawn and very carefully shaded, even the ground In-hind 
the head of St. Bridget and below the scroll is deepened with transverse line-. in 
order to relieve these portions of the de-sign. But the drawing is in places almost 
frholous, for the clouds on which (!id the Father and Virgin stand terminate in 
|M>inted ends, which are not unlike flames of fire. The technic is sharp, and the 
impression has been well worked off in a black colour. The colour is throughout 
pale, and but of partial application. The mantles of God the Father and of St. 
Bridget arc pair ml : tin- mamle uf Mary is cinnahar ml. a- arc also the hat, the 
pilgrim's wallet, and the pavement on the left hand. The glory of God the Father, 



SAINT BRIDGET OF SWEDEN. 281 

of Mary, of the border of that of St. Bridget, of the golden bands and knobs on 
the head cloth, the radiant glory of the Holy Ghost, the hair of the angel, the 
writing-desk, the crown and the lion on the shield, the stars, the ground of the 
margins of inscriptions are of pale ochre colour ; the clouds and the disc of the 
nimbus of St. Bridget, the shield of Sweden, and the bar on the shield between 
4 Maria sterre ' are pale blue. 

" This faint style of colour is in striking contrast to that common to the schools 
of Upper Germany, even in Bavaria and Mansee. The anomalous form of the 
clouds, and in particular the rays around the head of Christ in place of a nimbus, 
as also the radiant ground on which the Holy Spirit appears, indicate a late period 
of production. On the other hand, the form of both the shields which with quite 
straight sides have below a circular form in section warns us not to place that 
period too near us. 

" We think we shall not be far from the truth if we ascribe the print to the last 
quarter of the fifteenth century. The inscription shows that we have before us a 
production of the Netherlands." 

There is not any watermark present. 

[4 1 x 3 in.] [Coloured.] 



D. 97 . 
SAINT CATHERINE OF ALEXANDRIA. 

MIDDLE OF THE FIFTEENTH CENTURY. 

ULM(?). 

(Martyr. -J- 307.) 

(No. 88, WEIGEL.) 

\T. CATHERINE stands facing the spectator, with the head slightly 
inclined over the right shoulder, and looking down. Over the head 
are a crown and nimbus ; the long fair hair descends almost to the 
knees. St. Catherine is clad in mantle and tunic, the first being open 
over the chest and near the bottom, exposing the under garment, which is girded 
at the waist. She rests the right hand on the top of a wheel, above which rises the 
handle of a long straight double-edged sword, the point of which rests upon the 
ground. With the left hand the Saint supports some folds of her drapery. The 
feet are not visible. 

This design is enclosed within a bonier line, and measures 5J- inches in height 
by 3|. inches in width. Beyond is a plain margin of unequal size, above, below and 
laterally. An ornamental frame, nearly an inch wide, with a narrow border, -ur- 
ronnds the whole. The ornamentation of the framework, in which the pictorial 
ili-iirn has been set, consists of acanthus leaf arabesque-like enfloriation, the leaves 
ln-injr twined round a central rod or bar. 

The print has been coloured. The mantle of St. Catherine, the ornaments of 
the crown, and alternate leaves of the frame are of crimson madder : the nimliu-, 
gold framework of the crown, hair. \\ heel, and sword are yellow, as is also the 
central liar or n*l of the frame. The ground and altennite lca\e- of the outer 
frame are of :i green colour. The tunic of the Saint and the ground of the orna- 
mental border are of a deep grey. 




282 WOODCUTS. 

This cut evidently was produced by the author of the St. Barbara previously 
[D. 95] noticed. 

It may be observed that the central design of each print was placed in the 
game ornamental framework wliile impressions of it were taken. 

This was not an unfrequent practice with some early wood engravers, who 
used a common frame or border to several cuts when the latter happened to fit 
it. On this custom, as also on that of enclosing woodcuts within frames or bor- 
ders engraved in relief on metal, reference may be made to Weigel's " Anf tinge, 
etc." vol. i. pp. 123, 149. 

[?T X 5f in.] [Coloured.] 



D. 98. 
SAINT CATHERINE OF ALEXANDRIA. 

BEGINNING OF THE SIXTEENTH CENTURY. 

GERMANY. 
(Martyr. % 307.) 

)(T. CATHERINE stands directed in action towards the spectator's 
right. Both crown and nimbus are present. The hair of the head is 
long and wavy, falling to the elbows. With her left hand St. 
Catherine holds erect a long double-edged sword, below which, rest- 
ing on the ground, is an entire wheel. She is clad in mantle and tunic, the folds 
of the first being gracefully disposed. The head is too large in proportion to the 
body. A rather broad black border line encloses the design. 

This little cut has been coloured. The tunic is here madder red, while the 
mantle is grey, a system of colouring contrary to that generally followed. The 
nimbus, crown, hair, sword and wheel are of a yellow colour. The ground is 
green. 

[3 X 2 1- in.] [Coloured.] 

D.99. 
SAINT CATHERINE OF ALEXANDRIA. 

BEGINNING OF THE SIXTEENTH CENTURY. 

GERMANY. 
(Martyr. + 307.) 

(T. CATHERINE stands directed towards the right. She is <h -uped m 
mantle and tunic. A crown and nimbus arc over the head, the hair 
of the latter falling to the elbows. With the left hand St. Catherine 
supports an entire wheel; with the right she holds a straight sword, 
the middle of which rests on her right shoulder. A border line encloses the de-i'_ r n, 
which has been coloured. The mantle is of madder red ; the nimbus, crown, 
hair and wheel ore yellow; the ground green in colour. An unimportant piece. 

[ij x i|in.] [Coloured.] 






THE ASSUMPTION OF SAINT MARY OF EGYPT. 283 

D. 100. 

THE ASSUMPTION OF SAINT MARY 
OF EGYPT. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

NETHERLANDS (?). 

(No. 125, WEIGBL.) 

ItT. MARY, who occupies the middle and entire length of the compo- 
sition, is being raised to heaven by three angels at her knees and feet, 
and an angel at each shoulder. Mary inclines her head over the left 
shoulder, looks humbly downwards, and raises her joined hands over 
the chest. She bears a bordered nimbus. The hair is bound as a fillet around 
the brow, and then falls in long twisted curls to below the hips. She is clad in a 
long mantle gracefully disposed, and slightly open over the chest and below, where 
it allows the hairy tunic beneath to be observed. The naked feet protrude from 
beneath this tunic, seeming to rest on the body of the lowermost angel, who is 
assisting Mary in her apotheosis. 

The five ministering angels are all clothed in long loose robes girded around 
the waist. Over the chest and from the waist cross and flutter long stole-like 
girdles or bands, such as the early Italian painters and the masters of the second 
half of the fifteenth century were wont to put in their pictures. The ground 
line is slightly curved, showing the intention to be conveyed ; the ground is 
marked as if grassy in character. A border line encloses the whole. 

The drawing generally is natural, and the attitude of Mary, though stiff, is yet 
graceful. Colour has been resorted to of a pale and unobtrusive character, and 
carefully applied. The robe of Mary is now of a pale brownish-yellow tint, as are 
also the draperies of three of the angels. The nimbus was formerly illuminated, 
but with metal that has since oxidized and become nearly black. The vestments 
of two angels are tinted on the shadow parts with bright blue. The wings of 
three of the angels are tinted at their upper parts green. The lining of Mary's 
outer robe and the ground are green. The sky is indicated by a few parallel but 
broken horizontal washes of a dirty blue colour. A wash of rather bright red 
colour has been applied along the enclosing border line. 

The lower margin of the print has been cut away, otherwise the cut is in a 
good state of preservation. 

This pretty little cut was formerly in the cabinet of M. Weigel. 

" The clothes of the angels," writes Weigel, " are like the albs of Deacons : 
they are very long and girded at the waist, as Masaccio painted them in the second 
half of the fifteenth century. 

" The time when the print was engraved may be arrived at partly from the 
nicked folds of the drapery, and partly from the full and twisted hair. We be- 
lirvc we are right in placing it at about the middle of the third quarter of the 
fif'triMith century. The locality, however, in which it originated we do not venture 
to determine. The lower margin is absent. The paper is without watermark. 
Compare Acta SS., 2nd April. Sumcrteil der hevligen leben, Augsburg, 1472, 
lid. jff. Alt. Hciligcnl.il.lrr, S. 192." 

To iln-M- authorities we may add Mrs. Jameson, " Sacred and Legendary Art," 
ed. 1850, p. 227. 

[41 x 3i ">] [Coloured.] 




284 WOODCUTS. 

D. 101. 
SAINT ROSALIA OF SICILY. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 

GERMANY. 
(Augustinian Hermit. { ?). 

HOUGH designating this cut as a representation of the Patroness of 
Palermo, we are not by any means sure that such conclusion is just. 
Yet with the exception of St. Dorothea and Mary Magdalene, we 
know not to whom the design can relate ; and to these holy women 
it does not appear to so readily apply as to the Virgin Hermit-Saint of Monte 
Pellegrino. 

St. Rosalia stands erect on the right of the spectator, with the hands raised 
and joined over the chest. She is directed slightly in action towards the left, 
where stands a small altar. 

Rosalia is draped in a long robe, which fits closely over the chest, and trails 
in folds upon the ground. It is tightly girded in at the waist, from whence hangs 
a long narrow band, the end of which rests on the ground at her feet, which are 
hidden beneath the drapery. Around the top of the robe encircling the Saint's 
neck is a vandycked collar, the rays pointing downwards, and falling as it were 
down the front of the dress are several oak leaves, their petioles being upwards. 
A bordered nimbus with rayed disc is present, and the hair of the head, which Is 
fair, long and wavy, descends almost to the feet. 

On the altar to the left is a candle, and a Greek cross ornaments the centre of 
the fringed altar-cloth. An antependium is present, ornamented with arabesques 
in lozenge-shaped compartments. Above the altar projects a short rod or bar, 
on which hangs a wreath of roses (?), here intended as we have assumed to 
represent the particular attribute of the person before us. The ground is pave- 
mented, rising on a level to the step of the altar, which is in angular perspective. 
A border line encloses the composition. 

The impression has been worked off in a light brown colour, like that of several 
block books. The print has been coloured. The nimbus, waistband and ante- 
pendium are of crimson madder ; the drapery, hair, altar-cloth, altar-step and 
background are different shades of a yellowish-brown colour, the ground and 
fringe of the altar-cloth being green. 

[5 X 3f in.] . [Coloured.] 



GENEALOGICAL TREE OF TUE DOMINICANS. 285 



D. 102. 

A GENEALOGICAL TREE OF THE 
DOMINICANS. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
GERMANY. 

(St. Dominic. Founder of the Order of Preachers, and institutor of the Office 
of the Rosary. J^ 1221.) 

(No. 181, WEIGEL.) 

*HE recumbent figure of St. Dominic forms the base of the design or 
ground-source from which springs the genealogical tree of his Order, 
founded in 1 2 1 6. The head of the Saint is on the spectator's left 
hand ; it is slightly elevated and supported by his right hand. The 
head bears the tonsure and nimbus, the disc of the latter having on it a six-rayed 
star. St. Dominic is draped in his proper habit, viz. white tunic, white scapulary, 
and long black mantle and hood In his left hand is a closed book. From his 
waist runs a scroll, towards the right, on which is inscribed in Gothic characters 




44 T8 DStce pf preDicator." 

From the left side of the recumbent Saint springs the trunk of a vine tree 
having numerous branches, leaves and bunches of grapes. Among the branches 
are busts and half-length figures of the more illustrious male and female members 
of the Order of Dominicans. At the summit of the vine-stock and in a central 
position is a whole-length figure of the Virgin bearing the Holy Infant in her arms. 

Behind the recumbent figure of St. Dominic runs a low wall imperfectly semi- 
circular in form ; at its termini stand a male and female Saint. On the left hand 
of the spectator stands St. Peter Martyr, erect, and in action directed towards 
the right. He holds in the left hand a broad scimitar-shaped sword with blood- 
stains on it. In his right hand is a closed book. The head is tonsured ; a nimbus 
is present. Over the vertex is the mark of a wound from which blood runs down 
upon the face. From near the left hand a scroll runs down to the right foot ; on 
it are the words 

44 $ct0 pare De meDioIano." 

Si. Peter is in the habit of his Order. 

Next him and behind the wall stands St. Vincentius of Valencia, A black 
cap is on his head ; a nimbus is present. In the right hand is a large open book, 
in the left is a small crucifix (?), or candle (?), the top of which is obscured by the 
black colour applied to the drapery. A scroll runs down from the Saint's waist 
over the wall to near the left foot of St. Peter Martyr. On the scroll are the 
wi.rds 

44 4>ct0 binttcic DC toalccta Doctor." 

lietweon St. Vineentius and llio tree-stem is St. Thomas Aquinaawith nimbus 
ami ton-iirr. lie hnlds a elu.-ed Ix.ok in the ri^'ht hand, two lilies (?) in the left. 
On one of the lily llowcrs is a dove with nimbus symbol of the Holy (ihoit 



286 WOODCUTS. 

with the head directed towards the left ear of the Saint. Before the latter and 
running along the wall is a scroll, on which is inscribed 

" &>ct0 tbomao DC aqno." 

* Between the heads of SS. Vincentius and Aquinas is an oval medallion of C'hrUt 
presiding at the Last Judgment, and having the sword and lily on either side of 
the bead. 

On the other side of the vine-stock is Henry Suso, of the Special Dominican 
Order of Preachers. As he was never canonized his tonsured head does not bear 
a nimbus, but is encircled by a wreath of roses (?). He holds erect in the rijrht 
hand a three-branched flower-stalk (rose ?), and in his left a closed book. He 
looks towards the head of St. Dominic. Below him is a scroll running alon<r tin- 
wall, on which may be read 

44 &ct0 Jjeinrice $uf$e fr'ortn'0 pfcicatr." 

St. Margaret of Hungary comes next, habited as a Dominican nun. A 
nimbus is present. She holds erect with the right hand a three-branched lily- 
stem, and carries a large book with the other hand. From below the book runs 
a scroll towards the right, having on it 

44 *>?a marcareta." 

Immediately below this scroll is a shield, on which is a double cross on a red 
field the arms of Hungary. The shield is surmounted by a crown. 

At the end of the wall stands St. Catherine of Siena, seen as a whole-length 
figure. The head-dress is white ; a nimbus is present. She holds a crucifix and 
a two-branched lily in the right hand, while from the left proceeds a scroll having 
on it the words 

44 >ancta ftaterina He cento." 

Above the row of persons now described are two figures only, as busts, in the 
series, viz. Agnes of Monte Polliciano on our left hand and Cecilia Romana on 
our right. Agnes looks towards the stem of the vine and is draped as a Domi- 
nican nun. A radiant glory is over her head. She holds a three-branched lily- 
stem in the left hand, to which she points with the fingers of the other hand. A 
broad scroll runs down from her to the head of St. Thomas Aquinas, having 
on it 

44 JJta ooror agne0 Be mote polliciano dgo Ictita et sea." 

On the other side is the bust of Cecilia Romana, habited as a Dominican nun. 
A radiant glory is over the head, a three-stalked rose-stem in the right hand, to 
which she points with the fingers of the other hand. Below her is a broad scroll, 
one end of which touches the head of Henry Suso, and bears the inscription 

44 15ta coror cecilia romaa opalic cci Domlct t jpo filia." 

Above these female members of the Order is a row of four male members as 
busts. They are in the habits of their Order, have black caps on their head-. 
which latter are devoid of true nimbus, but have around them a row of simple 
rays, signifying that they are Holy and Blessed though not canonized as Saints. 

The person on the extreme left of this series is Jordanus, the second General 
of the Dominican Order. He looks towards the right and extends the hands as 
if in the act of teaching. On the scroll below him and above the head of Si-t< r 
Agnes are the words 

44 3!ortan0 mot ortT0 0cDBC multor miraculor opator rjcimie." 



GENEALOGICAL TREE OF THE DOMINICANS. 287 

Next to Jordanus is Reynaldus, also in the act of teaching. A scroll is below 
him, and on it are the words 

44 Rcpnattic 0citate tepicue gcff pum cui orDimc bafaltu e ucoicnatuc." 

On the other side of the vine-stem and directed towards the left is John 
.Iv/nUi i>. He holds a book in the right hand and raises the other as if teaching. 
On the scroll below his bust is inscribed 

" 2Dbanee0 eel Dfnci uterinua birtutibe et miraculte dare." 

Next to Johannes is Raytnundus, the head and shoulders alone of whom are 
represented. He looks towards our left. On the scroll below him and above the 
head of Sister Cecilia is inscribed 

44 KapmuUe epilator Btfta q in bita j pe fll'ofe clariiit mitaculie." 

On the next and higher series are four illustrious members of the Order two 
Popes and two Cardinals. 

Beginning on the left hand, we observe Latinus Hostiensis. He wears a car- 
dinal's hat, over which is a radiant glory. He holds in the right hand a double 
cross and in the left hand a book. He is directed towards the spectator. On the 
scroll below his bust are the words 

44 Hatine booticnffl 0ne acltatc Uoctrina et miraculor Gloria illufitris." 

Next comes Pope Innocent V. with tiara and glory of rays. He looks up at 
the figure of the Virgin, who stands on the summit of the bifurcated vine-slock, 
and places with the right hand in the hands of Innocent a white robe. On the 
scroll below are inscribed the words 

44 Jnnoccctc pp b bita uoctrina et one dart." 

On the other side is the bust of Pope Benedict XI. He bears tiara and ray 
and carries a triple cross with the right hand. He is directed in action towards 
the left. On the scroll appertaining to him are the words 

44 JjfnrUictc pp jn ccia et miraculor cloria inclitiio." 

Cardinal Hugo ends this series. He looks towards the left, bears a cardinal's 
hat and rays, and carries a double cross with the right hand. On his scroll may 
be read 

earinalikj 0c? aabinc bita Doctria et opinione 073." 



In the centre of this row and at the top of the dividing tree stands the Blessed 
Virgin bearing the infant Saviour on her left arm. She is clad in mantle and 
tunic, and bears both crown and nimbus. With the right hand she bestow!* a 
white habit on Pope Innocent, below at her right foot. He receives it in his left hand. 

The infant Christ is undressed, bears a cruciform nimbus, and raises the right 
hand towards His Mother. 

On the top of the tree is the fifth and last series. In it are included six 
members of the Order four bishops and two inquisitors. 

The first on the left is Bernhardiis de rupe forti, with black cap and < i 
rays. He is directed in action towards the left and bears erect a stnii^lit di>ul>Ic- 
< d^cil sword. In the right hand before him is a large open book, from whirli lie 
appears to be reading or tlclivcrin:.' in-trm-tinn. On tin* M-roll Mmv the book 
arc the words 

44 33embarti( tor rupc forti ft ootii cui firo manure.' 



288 . WOODCUTS. 

Next to Brother Bernhardus is Raynerius, Archbishop of Messina. He is 
directed towards the right, and regards the Virgin. He bears mitre and rays 
and has a crook in the left hand. On the scroll below him may be read 

" Rapncric mef0aneT0 arcbicpo ftci (Thome De aquino ctrmantua." 

It may be observed that the pastoral staff of the Archbishop is turned inwards, 
as is the case where a mitred Abbot is represented. But in the present instance 
the inversion is probably due to the want of room to represent it outwards, as is 
done with the three other episcopal dignitaries. 

Between Raynerius and the upper part of the Virgin is Albertus Magnus of 
Ratisbon. He bears mitre, rays and pastoral staff. His right hand rests on a 
scroll bearing the words 

" aibcrte macne tbeutomce raticponcfo ep0 Dibine capicnc ilhictrau ." 

On the other side and next to the Virgin comes the figure of Johannes 
Theutonicus, Bishop of Bosnia. He bears mitre, rayed glory and pastoral staff. 
He is turned towards the Virgin. On the scroll below are the words 

" TobSneo tbeutonict.: bit Doett et ceo bo0ne0 rpc." 

Next stands Petrus de Falude, Patriarch of Jerusalem. He bears mitre, 
glory and pastoral staff. He looks downwards and to the right of the spectator. 
On the scroll attached to him is inscribed 

" flDetre De paluDe pft * arcba tit Doete et telioeiw." 

The last figure of the series is that of Paganus, the successor as Inquisitor to 
St. Peter Martyr. He wears the black cap, over which is a circle of rays. !!< 
bears both book and sword in the right hand, and rests the left hand on the top 
of the scroll, on which are the words 

" Pa0ant' bit pclare at Doctm pfuloeo el'ooc marticio eoronatua." 

Above and below the genealogical tree bearing the rows of effigies which have 
been thus shortly described is a margin or plain border on which are two lines of 
inscription in Gothic characters of larger size than those of the scrolls. These 
two lines of each margin include three rhyming couplets, the beginning of each 
couplet being marked with a capital letter, in some instances misplaced however 
by the wood engraver. In the two lines above may be read 

" JFelijt vitio De cuiuo curculo antu cerme reDfiDat ecl'o Celi binu ppnao 
IPopulo bitali poculo jc liberate palmitu ^ilunm tarn ctnjcit ambitu." 



In the margin at the bottom of the print may be read 



" $00 peperi nato0 

HDuo0 pDut pfflc bcatoo 

ftiona Dei pura 

Suatio papal i a jura 

rod Deciebert 

T.ma multo0 bee latuerunt. 

anno, mcttclxjriii ." 

A black border line encloses the entire composition. 

The print has been coloured. It formed part of the Wcigel cabinet, and it - 
late possessor has described it very fully in the first volume of the " Anfange, 
etc." p. 278, No. 181. 

From that account the following is extracted 

"The drawing is of a practised character, and the rnuntciiunces are not with- 



GENEALOGICAL TREE OF TUE DOMINICANS. 289 

out expression. The draperies, the vine stock, as also the ground, are slightly 
hatched. The dark lines and the green tints are deep and fresh, but the ochre- 
yellow of the glories, the vine stock in various shadow parts, and the red of the 
wall, of the shield, of the books, the hats, the mitres, and of the mantle of the 
Virgin are in various degrees paler. The impression is sharp and black, and 
has been produced with the press. The paper is strong, and for watermark baa 
a small bull's head with stalk and star. 

" Our print was produced in the year 1473, as the date indicates, but where it 
saw the light is not mentioned. But through its plan and execution it undoubtedly 
belongs to the more prominent productions of the xylography of the fifteenth 
century. From these circumstances those persons who are of opinion that 
mediocre performances only of Art were produced in Germany at that time, will 
be inclined to assign the print to Italy or to the Netherlands. Fortunately, how- 
ever, intrinsic evidences in favour of Germany are to be found in the print itself, 
while as regards the other places, all that can be said in favour of them is based 
on doubts as to Germanic ability only. 

" In the next place we may observe that the character of the text is exactly 
that prevalent in Nordlingen, Ulm and Nurnberg at the time mentioned. In sup- 
port of this statement we would refer to the German Biblia Pauperum, the 
' Defensio immaculate conceptions Virginis Mariae,' the Indulgences, the Confes- 
sion Tables, and to the xylographic Kalendar of John of Konigsberg. The writing 
Sancta Katerina de Senis ; Latinus Hostiensis instead of Ostiensis, Bernhardus, 
Johannes, in other words the employment of the h, finally the purely German 
form of the names Heinricus Susse for Henricus Suso, point to Germany and 
speak against Italy. We may instance also the loin cloth tightly wound round the 
hips, which is observable on the Crucified, and is always to be met with on German 
prints of that time. Consequently we unhesitatingly assign our print to a German 
arti-t. As to the locality of its production the foreground alone affords a slight 
basis for drawing a conclusion. Clearly, neither the lively colours of Swabia or 
the peculiar ones of Bavaria are present. On the other hand, some leaves of the 
' Kntkrist' in our possession, and the xylographic 'Entkrist' which appeared at 
Niirnberg, have the fresh verdigris green and softened-off foreground of the present 
example. We conclude, therefore, that we have a Niirnberg print before us." 

[5y X lOf in.] [Coloured.] 



D. 103. 

A SERIES OF EIGHT SMALL VARIOUS 
RELIGIOUS SUBJECTS. 

THE SIXTEENTH CENTURY. 

(.i:i: MA NY. 

NDER this number are arranged eight small and unimportant cuts of 
religious subject*, whirh appear to have formed part of a st-rio illu*- 
trating a book of devotions. 

No. 1 represents the Blewied Virgin and St. Joseph adoring the 

infant Saviour after tin- Nati\i 

No. 2 \- tin- Adoration of the three Kings. 

^. the incredulity of St. Thomas. 
No. 4. Cliri-t takin- 1< :.\e of Hi, Mother. 

i 





290 WOODCUTS. 

No. 5, the Mass of St. Gregory. 
No. 6, an " Exposition." 
No. 7, the Trinity, and 

No. 8 is the figure of St. Catherine of Alexandria. 

The designs and execution are of inferior character. All the cuts have been 
coloured. 

Some of the pieces have been cut down. 

[if X 1 J in.] [Coloured.] 



D. 104. 
CHRIST APPEARING TO A SICK PERSON. 

LATTER PART OF THE FIFTEENTH CENTURY. 
GERMANY. 

'HIS curious print represents our Lord appearing as the Crucified (ac- 
companied by instruments of the " Passion ") to a sick person who had 
complained to Him of his troubles. 

On the left hand, in the foreground, of a narrow room or cell, sits 
a sick man in a large easy chair, resting his head on a pillow placed under the 
left side of his head. He is clad in a kind of religious habit, the head being 
covered with a black hood and a long strip of black cloth hangs down in front of 
the body. His left hand is raised up to below bis head ; the right hand rests 
on his right knee ; the drapery conceals the feet. Opposite the invalid rises 
the Cross, on which is the Crucified Saviour. Over the head of the latter is a 
plain nimbus only. A wreath of thorns encircles the brow ; the hair of the head is 
long and black, and descends to the shoulders. The loin cloth is close-fitting. The 
left foot is crossed over the right one ; there is not any suppedaneum present. 
By the side of the Cross, and between it and the right hand border of the print, 
are instruments of the " Passion," viz. the pillar and rope of flagellation, the reed 
and sponge, and the spear. On the other side is a broad scroll nmning down 
from the right side of the Crucified to the chair of the sick man. On this scroll 
is inscribed the response of Christ to the complaints of the latter. Three sides 
of the room are shown in correct perspective. On each wall is a large open space 
or window, through which landscape details are to be seen. Part of the raftered 
ceiling is shown in true perspective. The floor or ground is pavemented, the 
lines of the stones running to the point of sight. The perspective edges of the 
Cross and windows are also represented. 

There is not any cross-hatching present, but shadows are indicated with parallel 
oblique and horizontal lines. Below the pictorial design is a broad margin or bor- 
der, on which is the following in three lines of sharp Gothic German characters 

" <E0 tear ain fcrantfeer . armcr . tf r0emfcbtf r mrnccb , Der beilact iefc uncrrm 
bmen . epner ferancfcbait . unD cpncr armut . unD erne r tf rscbmacbt. Da oprach 
unaer bm toie obcn 0int. fyana fjuflfltr." 

On the scroll before mentioned is what our Lord said, viz. 

" pc fcrrncfcer Du tier, jc lifter Du mtr biat 

re rrrncr Du hot if glepcber Du mtr btot 

pe toerficbmcc&ter Du biet je nrber Du mir faict." 

A double l>order line encloses the whole, but the print has had the- outer 
border line cut away at the top and bottom. 



APPARITION OF CUEIST. 291 

The print has been coloured, but chiefly on the accessory parts. Some blood 
drops are faintly shown on the body of Christ, and blood stains mark the pillar. 
Green landscape is seen through the windows. The floor, walls and ceiling of the 
room are of a light reddish-brown colour, of various degrees of depth. The per- 
spective edges of the Cross, the hair of Christ's head, and part of the drapery of the 
sirk man are of a deep black. Beyond the outer border line an edging of red 
colour has been applied. 

Not the least interesting point in connection with this cut is the addition of 
the author's name, " Hans Husser," after the lower inscription. 

[7 X 4ffin-] [Coloured.] 



D. 105. 

THE GIFT OF THE ROSARY WITH AN 
INDULGENCE RULE. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

SWABIA. 
(No. 189, WEIOEL.) 

1 HIS sheet is divided into parts. ' In the upper half is a design repre- 
senting the Virgin seated on our right hand, bearing the infant 
Christ upon her knees, who is delivering a wreath of roses to a man 
standing on the left to receive it. The Virgin bears diadem and 
nimbus, and is draped in a large mantle open over the chest, where it exhibits the 
tunic. She appears to be seated on an elevation, behind which, on the opposite 
side to her, stand the recipients of the symbolic Rosary. The infant Christ is 
seated <>n Hi* mother's right knee, and faces the spectator. A cruciform nimbus 
encircles the head ; the body is entirely undraped. With His right hand Christ 
extends towards the figure near Him a wreath of roses. The man raises his joined 
hands before the chest, and looks thankfully and inquiringly towards the Saviour. 
He is bareheaded, and draped in a tunic girded at the waist. The figure is seen 
to about the hips, the lower part being hidden by the elevation on which the holy 
persons are seated. Behind him, and to the left, is a woman draped in mantle, 
tunic and head cloth. Like the man, she raises her joined hands before the 
che-t, and looks towards the gift which is being presented. 

Alove the Virgin and Child is a transverse rod or bar, on which hang five other 
wreaths of roses, each wreath diminishing in size as it recedes from the figure of 
the Virgin. 

Tin- composition is enclosed within a necklace of scales, having at intervals 
five roses. These five wreaths on the bar and the five roses on the necklace 
symbolize the five wounds inflicted on the crucified Redeemer. 

liclow this design, on the other half of the sheet, is the rule of an indulgence. 
It is of right lino. rii'_ r ravf<l in rather large (Jothic or monkish character-, t> the 
following effect 

"310 offt aina ainen roBtn&rarm marie unto ncm I into ibrcto <to lob unt) tit 
pctcn ict. rocmlicb tun rrctrr rinrn glaubrn unfc fcarnacb . t> . pater nootrr unH 
nacb j'fDcm pi hi ;rben atoc marii &o ottr cnpfdtbt CD toirtuc tr.o unD an icuc ua:rr 
frauen tag rib jar ablaa tootlkb fr eunfccn. iDurcb pabct ftijrten ccbrn." 

Tho whole is enclo<nl within a black l.onler line. The print has been ml 




292 WOODCUTS. 

The roses, alternate wreaths and mantles are of madder red ; the seat and alter- 
nate wreaths are green. The tunic of the Virgin and woman and the coat of the 
man are of a grey hue. 

According to Weigel (in whose cabinet this print was formerly), this dc-i-n 
probably emphasizes the Restoration of the Confraternity of the Rosary, which 
took place circa 1475. the figures being evidently taken from those in the 
copper-plate title of Jacob Sprenger's " Rosenkranzbuche " of 1476, while the 
woman has the dress represented on the " confession table " of I' 1m of the year 
1481. [D. 107.] 

" The wide mantle, with its very numerous nicked folds, the dress folded on the 
breast, the dress also of the woman praying, all speak for a time about 1480. We. 
therefore, consider the beginning of the last quarter of the fifteenth century as 
the period of origin of our print. 

" Idiom, technic, and colour point to Ulm, Nordlingen, or Augsburg as it* 
locality. The technic is sharp, the impression has been worked off" in black 
colour, and apparently with the press. A watermark is not present." (" Anfange, 
etc." vol. i. p. 298.) 

This example is mentioned by Passavant (" Peintre-Graveur," vol. i. p. 45). 

[7j- x 4f- in.] [Coloured.] 



D. 1 06. 

THE TEN COMMANDMENTS. 

LATTER PART OF THE FIFTEENTH CENTURY. 
SWABIA. 

LARGE sheet, containing both text and illustrations concerning the 
Ten Commandments. 

In the upper half of the sheet are two rows of five cuts each row, 
in which infractions of the Ten Commandments are represented pic- 
torially. Under each cut is typographic text, explaining the nature of each 
Commandment. 

The five cuts in each row are continuous with each other, being divided only 
by black perpendicular lines. They have been engraved on one block, each row 
being rather more than 10; inches in width by 2|- inches in height. The designs 
vary from 1 inch to 1 j- inches in width. 

At the top of the sheet, above the first series of illustrations, is the following 
text in five lines of clear Gothic typographic characters 

44 <E0 ifit ?u tm0cen Da0 natb net beilaen ccfnift unD cortieben Irre tor Icbr r 
mcnccb toil iomtn ut cot Der muo rum imnctrn baltcn Die . r . (jebot. CCirr abrr 
Hie uberget Her 0ecjet 0icf> in einen torrnamplicbcn ctat unD mac Die totllr 6ain cut 
toerb touchcn Da0 pm Dtene ?u etoicen If hen e0 0p Den Da0 er cub nalte nach Dtcor r 
nach oeiKbiUirn (ere. ulor alien Dincen 00! einer lerrn Die jc . ccbot cottrs oDer ui 
Dem allcr mmctcn Den cpnc Da ton. Die alco luten mi t toenie c.u QC0cc>ten toaiten 
Da0 man oie tester ba00 mug ucrctrn." 

Below this inscription comes the first series of illustrations, the commencing 
one of which on the left represents an idolater kneeling before the golden i -ult'cu 
a column, while in the foreground is a devout and kneeling female Cliri-tian, 
adoring the crucified Saviour, who appears before her, holding up His pierced 
hands, and accompanied by a tau cross, on which hang a scourge and rod. 




THE TEN COMMANDMENTS. 293 

Below is the text 

" Da0 crate eebot Du 0olt nit fremDe cot anbette nocf; mit unclauben noc{> mit 
0ecen nocb mit c?eubcre2." 



The next and .second illustration represents a man raising a large crucifix, and 
swearing as he does so. Below is the text 

" Da0 antier Bu colt Dn name eotc0 tut upptolicb in Den munDt ntml nocfj 
fitoirf nocbflucbe nocfj cot lectere," 

The third cut exhibits a tonsured ecclesiastic in the pulpit Before him are 
seated on short three-legged stools a man and a woman. On the other side is 
the apparition of the Crucified, accompanied by some instruments of the " Pas- 
sion." Below may be read 

"Da0 Brine ccticnc&c Das Du Den fiertag bciliacct mit cuten toorte unu 
toerc&e," 

The fourth illustration shows a son washing his father's feet. Below is 
inscribed 

44 iDa0 touU Du colt Date tin mute" erf He cei0tlcbe bate Dt prtoteocnaft Di ceiot-- 
licb mutf Hi f)f ilia feircbe tin bat? mute." 

The last cut in the row represents a man murdering a holy person by striking 
him on the head with a stone. The latter person is also transfixed through the 
abdomen from behind forwards, with a straight double-edged sword. A nimbus 
is over the tonsured head of the Martyr. The text below is as follows 

44 >a0 . b . Du colt nietnat Dote nocb mit De bercje ba00? nocb mit De mufie 0in 

ete abcchniBcn noch mit Det b5t ton en," 

The second series of illustrations now follows, the first cut of which (first on 
left) represents a man and a woman together in bed. The text below is 



" Da0 0ecb0te Du 0olt nit un&uoeb 0in mit toorte nocb mit bcrc&cn not!) mit Der 
cebetDe." 

The following illustration is that of stealing. A man in the middle of the de- 
sign is talking to a person opposite to him on the right. A bareheaded man be- 
hind is taking something from the pocket of the person in the middle of the group. 
Below may be read 

44 Dao cpben&e Du 0olt nit 0telen Da0 i0t nirmant Da0 cpn toiDet cot ab nemen 
QC toinnen oDer becpt >en." 

In the following cut a judge is sitting on our right hand in achair. He lml<U 
in the left hand a staff of authority, and points with the other hand at a person 
kneeling before him. The latter has his back to the judge and face towards two 
persons on the left, who, with upraised hands, appear to be accusing him of some 
misdemeanour. 

The text below the cut is 



44 >? acbt Du 0olt 6ein CaI0el> cec?uc&ni00 aeb? toiDe Din? ne0te mf0tb? nocb umb 
lieb noch umb IctD unD colt nit licof." 

The fourth illustration of tlii- row, and the ninth of the whole series, ia a curious 
composition. In front is a low bedstead with bed-clothes turned down as if prr- 
pan-<l for occupation. IMiiixl is jn-liapcl-likr liou^o witli opi-n doorway and ( 
open but barred windows, through which appear the busU of a man and a woman. 
They turn round t<> address each other and point with one of their hands to tin* 
bed before them. 



294 



WOODCUTS. 



Below is inscribed 

44 SDao nutie uu eolt nit nnr a ee mracfjc oUcr cemabrl bcgete ban fact ein frrnea 
an debt ufi am heccrt ?n unrrcn." 

The last of the second row, and tenth of the series, represents a man sitting at 
a desk or table on which are some heaps of money and a bag. On the ground 
before the table is an open box containing money. To the left of the table stands 
a man with outstretched hands, and turned towards the person engaged with the 
money as if beseeching him for some aid. 

Below is the text 

44 Dj cjebene Du oolt nirmana cut nocb 6nc ctn nocb mnU nocf> htm Dine D? 
cma anDte i0t toiDer oot brccrcn." 

The remaining part of the sheet is occupied by twenty-one lines of text, 
consisting chiefly of prayers and pious ejaculations, in relation to which we are 
informed 

44 toerea abrr Dae ein mrnacb nit moebte Die ohce0ebribe orbrttr aprrcbr mit 
toarbeit Deaabalb toan pm alle auntie nit Ici't toere . oDer nit toolt mic? aDcr unrecbt 
cut oDer banDfl nit toolte toerlaaaen oDer baaae truer im bcrt>? Den mocbte brm 
biachof oDet babat abooltntf. ^pc Doth eal er cutte tomb toitcften urt" Has i>tn cot 
etlucbte mit acmrr cnaHen amen." 

The cuts have been coloured madder red and light brown in various shades 
with grey, and green tints have been employed. Light red has been used for the 
blood-drops on the body .of the Crucified. Nearly all the figures have short 
jackets girded at the waist, long tight hose and pointed black shoes. 

On the second cut (Seventh Commandment) of the lower row are the capital 
letters Z of large size, and in a faint brown ink of impression, different from 
that with which the cuts have been worked off. 

The following work may be referred to with advantage in connection with the 
pictorial catechisms of the fifteenth century, viz. 

Der Bildercatechismus des funfzehnten Jahrhunderts und die catechetischen 
Haupstucke in diese Zeit bis auf Luther, mitgetheilt und erlautert von Johannes 
(Jcffcken. l . Die zehn Gebote. Leipzig, 1855." 

[1S X nfin.] [Coloured.] 



D. 107. 

A MIRROR OF PENITENCE, OR 
CONFESSION TABLE. 

1481. 

ULM. 
(No. 205, WEIGBL.) 

PRECIOUS and probably unique xylographic example of the fifteenth 
century, not any other impression being known. 

It is a sheet consisting of both illustrations and text in reformer 
to the practice of confession. It may be described as being divided 
mi" four portions, three of which contain xylographic text. The uppermost 
division contains fifteen lines of in-criptiun in Gothic characters, beginning 
44 fcie rat bermcrfeet toie aitb Der ccmam mennecb peptbttenn eol." 




A CONFESSION TABLE. 295 

Following the directions given are the illustrations to the text contained within 
a space 1 l hit-lies wide by 3 j- inches in height. In all there are fourteen figures. On 
the extreme left sits a priest in red cap and grey mantle, listening to the confession 
of a young man kneeling beside him with rained and joined hands. A little further 
to the right are a man and a woman awaiting their turn with the Confessor with 

raised and joined hands. Over the head of the priest are the words 

t 

<4 &ef)am Trie?) nit je peic&te Uein 0umit" 
Above the man confessing may be read 

" Da0 puectoartifl bolcfc." 

On the ground between the priest's chair and the feet of the attending female 
are the words " tianno ftcbator," apparently the name of the designer or engraver. 

Next to the man and woman awaiting confession is Christ, addressing St. Paul 
and St. Matthew. The first stands erect, clad in a long grey loose tunic, but 
allowing the bare feet to be seen. A cruciform nimbus is over our Lord's head, 
the hair of St. Matthew being dense and nearly black, as is also the beard, though 
short. Christ raises the right hand as if impressing something on the attention 
of St. Paul. Above and to the left of the head of Christ are the words 

44 <SetiatJi8 pin ic eneb alien reBt ibu0," 

Next to Christ stands St. Paul listening. Over his head is a nimbus ; he is 
draped in a red mantle. He raises his right hand and looks attentively at Jesus. 
In his left hand is a long straight sword, the point being downwards. Above is 
inscribed ** ft paulua." Below, near the feet of the Apostle, is a tablet, on which 
may be read 

44 paulitjj flpncfjt \)\z toao col icfj tun." 

Between the head of Christ and that of St. Paul are the words 
44 <Se in Die fttat nama0eo." 

Immediately behind St. Paul stands St. Matthew, looking inquiringly at Jesus. 
He holds erect in the right hand a carpenter's square (?) or a hatchet (P). A 
circular nimbus is present, the hair of the head is dark and thick, like the Saviour's. 
Hi- mantle is green, the tunic yellow. Above the nimbus is 44 ft. ^Eat$eu0," 
and below to the left between him and the next figure is inscribed 

44 rnatbce bole mir nacb." 

St. Mary Magdalene follows St. Matthew. She wears a turban-like head-dress 
with lappets, and has long loose white sleeves. She holds with both hands the 
ointment vase. Above is the title 44 maria magtialena." 

Between the heads of St. Matthew and the Magdalen may be read 

44 Dii emu toil sue bergeb? toann Du bast toil lieb ctbebt." 

Next in the series appears Zaccheus, in the act of descending from a tree. 
Above him is his name, 44 Jacbeu0," and below to the left between the tree stem 
and the Magdalene are the words 

44 beut mue0 ieb 0e? I Drin? fcaucj 0tepcjer eplrt berab." 
In succession is the repentant thief, struggling on the Cross ; above him may be 

rr;id 

44 ftnmpt bcr ir flunDer unu cunticnii " 
which is as if responded to by a group of persons who approach from the right 



296 WOODCUTS. 

hand towards the repentant thief. Immediately above the transverse beam of the 
Cross are the words 

" ccbacb Dice mao0." 

Below the thief may be read 

" brut teiret mit tntr in ttcm paraDia orm Du fjact gcnati pci cot funfcrn." 

The next and largest division of the sheet is occupied by a systematic exposi- 
tion in a tabular form of the various kinds of sin and of the Commandments ; of 
the gifts of the Holy Spirit, Sacraments, &c. by which such sins are forbidden, or 
strength and grace imparted to resist them. At the top of this division is the 
date l88l in large numerals on a tablet. 

In the fourth and lowermost division are a general acknowledgment and con- 
fession by a sinner of forgotten sins against God and his nearest Christian neighbour ; 
and the beseeching the Priest, who is in the place of God, to grant absolution of all 
such faults, and an assurance of ready compliance with the penance directed 
to be undergone. 

As this interesting sheet has been described in every particular by Wriiifl 
in the "Anfiinge, etc." vol. i. 326, No. 205, and by Johannes Geffcken in the 
"Beilagen" to "Der Bildercatechismus des funftzehnten Jahrhunderts," P- 1 *9 
No. x, 1 it is deemed unnecessary to enter into further explanation of it here, with 
the exception of such as the following extracts from the great work of Weigel and 
Zestermann (loco) offer to the reader. 

" The ink of impression is of a brownish-black colour, and in many spots has 
faded considerably. The red madder colour and the verdigris green are lively. 
The impress of the lines in the draperies is sharp, and therefore produced with the 
rubber. Probably not any other example of this confession table is known. A 
watermark is not present. The sheet has been cut away to within the border in 
many places. ' Passavant Peintre-Graveur,' vi. p. 40 gives a description of our 
Confession table which concludes with the words, ' L'execntion, I'impression et le 
coloris sont absolument semblables a 1'adoration des Mages par Hans Schliifer von 
Ulm.' We cannot agree in Mo with this opinion." (Op. cit. vol. i. p. 330.) 

The record of the name "Hanns Schawr" on this print is noteworthy. 
Passavant adds that according to Sotzmann, one Hanns Schawr was a well-known 
painter of fly sheets (Briefmaler) at Munich. Weigel states at Ulm. 

[16 x nfin.] [Coloured.] 



D. 1 08. 
A PASTORAL DIRECTORIUM OF SERVICES. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
GERMANY. 

LARGE sheet of typographic text, surmounted by a small wo<xl<-iit. 

The text is that of a Pastoral Letter or Directoriuin, lelative to 
certain Church Services and rules to be held and regarded during Un- 
tune of Advent, 1483, and afterwards in 1484. 
At the top of the sheet on the left hand side above the beginning of the text 
i* a pictorial design, representing a mitred abbot adoring the infant Christ, who is 

' llutli workb are in the Museum Library. 




A PASTORAL DIBECTORIUM. 297 

seated on the lap of His mother. The Virgin bean both crown and nimbus, and is 
draped in a full mantle which falls over a large cushion on which she is seated. 
She extends the left hand towards the kneeling abbot, supporting with her right 
the infant Saviour on her right knee. The long hair of the Virgin falls down her 
back. Over the head of the infant Christ is a cruciform nimbus ; His body is 
undraped. 

The ecclesiastic adoring is mitred, bearing the pastoral staff with tho crook in- 
wards over the left arm and shoulder. He kneels and raises his joined hands 
before his chest as he looks towards our Lord. His full outer vestment lies in 
copious folds on the ground. Between the kneeling ecclesiastic and the cushion 
on which the Virgin is seated is an escutcheon, crossed, bearing a shield of pretence 
on which is a raven (?) proper. 

This design is neatly executed, and the draperies are well cast. The figure of 
the adoring person is particularly good. The pose of the Virgin recalls somewhat 
the " Madonna del Sacco " of Andrea del Sarto, and the title to the Life of the 
Virgin by Albert Diirer. The folds of the draperies are sharp and angular ; there 
is not any cross-hatching present, a few shadows being indicated with oblique 
parallel lines. There is a long scroll running over the right hand portion of the 
cut from behind the shoulders of the person kneeling ; but there is not any 
inscription upon it. 

Thirty-six lines of Latin text follow this engraving, and form a first and chief 
paragraph. The characters are of a small sharp Gothic form, and if our memory 
serves rightly are not unlike those of the first " Durandus." 

This paragraph begins 

44 In nomine Domini 3me. >cinm cq orto Ditoinua hoc tpe frpemali bin cub anno 
Domini. 



And concludes with 

44 <St me attocntiis Domini cit crpctutua." 

A break here occurs, and then follows a second paragraph of nineteen lines. 
This clause begins with 

44 l^rrtrrca ocicntiti cq p anno futuro tofcj itlcccclrrfiiij. a fccto natitoitatie 
cbrifih ucquc aD Dominica," &c. 

It concludes 

44 3D cq no0 perDucat qui cine fine titit et rtcnat." 
[14^ X 9^in.] [Not coloured.] 

D. 109. 
HERMITS IN A ROCKY LANDSCAPE. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

UPPER GERMANY. 
(No. 198, WBIGEL.) 

IT the bottom of the composition runs a stream, over which in thrown 
Mat plank-like online. ul'inj: which proceeds a monk or hermit to the 
path leading up tin- hilly landscape beyond. On our left hand ju-t 
___ over the Mreaui is a hermit seated in a rocky cell, with a thatched 
n>of. Ik-lore it rises a tree. This hermit seems to be addressing the one who i* 




298 WOODCUTS. 

crossing the plank, supporting himself on a stick in his left hand. Above, on the 
next plane and to the right, is a hermit holding a pitcher to a pipe projecting from 
a rock, from which runs water. More to the right hand still is a hermit in 
a rocky cell (over which is a tree), repeating the Rosary. Along the pathway, 
above the hermit drawing water, walks another hermit towards a rocky cell on the 
extreme right above, in which a hermit is seated apparently engaged with the 
Rosary. On the left hand at the top is a hermit seated beneath a thatched roof, 
seemingly arguing with or explaining something to a brother monk seated outside 
before him. Above the thatched roof is a raven (?) descending towards the rock 
with outspread wings, and bearing in its mouth a small loaf (?). On the ground 
below and between the monk and the hermit is a pitcher or vessel for water. 

The rocky hills of the upper background are surmounted with foliage of a 
different character to that of the trees at a lower elevation, the artist evidently 
intending to show by the pine or fir-like character of the higher trees the increased 
elevation of his landscape. 

This engraving has been rather heavily coloured. The draperies and rocky 
parts of the landscape are brown and yellow ; the hills and trees green. A broad 
black border line encloses the composition. 

Weigel in whose cabinet this print was formerly remarks on it 

The meaning of the design is not clear to us. The technic is Upper 
German, but neither from the costume or drawing is the place of production to 
be inferred. We would observe, however, that a woodcut of like composition and 
mode of colour, with the inscription ' Quercina civitas ' (Eichstadt) over a town 
on the same, has in the corner the monogram 

1.5. MZO 



FBB MANSK 



" This woodcut is preserved in the Imperial Court Library at Vienna. 

" The nicked and hatched folds of the draperies, the production of shadow by 
means of colour, as also the indication of the atmosphere by a brownish tint passing 
into white, point towards the end of the third and the beginning of the fourth 
quarter of the fifteenth century. 

" In Gunther Zeiner's 'der heyligen leben sumerteil,' Augsburg, 1472, may 
be found page 53 the figure of a monk, which has a striking resemblance to 
the monks of our present example. 

The paper has not any watermark, but its texture is like that of the paper 
of Upper Germany." (" Anfange, etc." vol. i. p. 318.) 

[7f * 4| in O [Coloured.] 



D. 1 10. 
THE TEN PERIODS OF HUMAN LIFE. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

BAVARIA (P). 
(No. 206, WBIOBL.) 

*EN periods or ages of the life of man are here represented by ten 
human figures in various actions and attitude*, and by corresponding 
t-u figures of animals. Above each human figure are inscribed the age 
or period implied, and its associated d;M.-in..n. Above and below 
each correspondent animal figure are the years it represents, and its name. 




THE TEN AGES OF MAN. 299 

The figures of these series are arranged in consecutive perpendicular rows. 
Above the whole is inscribed in a continuous line 



" (D)i0 (se)tn Die je&en eEBeiwc&aft De0 alttcr(ft) Uer mtnae&en unto toem 
etc ereleic&(t) toertoen." 

Below the figures and in one line are the words 

" Dt0e fjcrnatl) oecebtibene ?rf?cn otuck ccljcntcn unn am alle toelr plcntcn. 
1882." 

Below this latter inscription are ten proverbs, which apparently answer to other 
emblematic figures than those present, but which have been cut away in the 
injury which the print has received. 

In the first and upper row of figures (human) is represented, commencing on 
our left hand 

jar ein feint." 



Below is a boy playing with a top. The correspondent animal underneath is a 
jumping kid, the motto above it being 



jar ein fepcj." 
The 2nd figure of the row is 

" Itocnntc jar ein j 



A youth holding a falcon on his left hand. The figure below is a calf with the 
motto 

jic jar ein &alb." 



The 3rd in the series is 

" SDrei00ifl jar ein ma." 

A soldier with helmet, sword and lance. The animal below is a steer 
" SDrei00iB jar ein 0tr." 

The 4th of the series is 

" flirt jifl jar toolcetan." 

A man well clothed, standing still and holding a purse in the right hand. Below 
is a lion 

io jar ein (ein." 



The 5th of the series is 

" JFun'tjic jar 0tiII0tan." 

A man well dressed, standing still with his arms crossed over the chest. Below 
is a fox 

" Jpunftjio jar e? futbfl." 



The Oth of the series ia 

Jar abcan." 



300 WOODCUTS. 

A man with grey hair and beard wearing a cap and mantle, and walking on delibe- 
rately. Below is a wolf 

" $ecf)tjic jar ef 22Bolf." 
The ?th is 

jic jar Hie self bctoar." 



An aged man slowly advancing towards the right, supporting himself on a staff 
which he holds with the left hand. His long coat is girded at the waist, and the 
head-dress falls over the ears. In his right hand is a rosary. Below is a dog 

" ftibentjic jar ef Jmnt." 
The 8th is 

" acf>tji0& jar Her tacit tor." 

An old man bent by age advancing with both hands on a staff. Below is a cat 

" acfctjie jar ein 6an," 
The 9th figure of the series represents 

JEJetoncjie jar Her binDer opot." 

A bent old man leaning on a stick and mocked at by a boy. Below is an ass 
braying, with the motto 

jic jar ein eeel." 



The loth and last figure of the series is in the form of a corpse extended on a 
plank 

" litunDcrt jar nu cnaB Uir cot." 

Below is a goose 

M fyurftert jar ef can*." 

The proverbs below the line with the date 1482 attached are as follows 

1st on the left " fitter on 3rio0att." 

2nd. ffiHewafjait on toerft." 

3rd. " anel on rueent." 

4th. " lucent on ere." 

5th. " fteracjwft on Dinar." 

6th. " fttet on recfct." 

?th. " dBetoalt on gnaBe." 

8th. " lucent on forcer." 

9th. " jFraiDen on ftcljam." 

loth. " o?aictlul) oiUe on friti." 

The figures have been coloured. The draperies are chiefly yellow and crim- 
son madder. The animals are faintly tinted with shades of brown and yellow and 
the grounds are bright green. The upper and lower transverse borders of inscrip- 
tions have yellow grounds. The designs are not without character, but their 
technical execution is rather stiff and coarse. The blocks have been worked off 
with an ink of greyish-black colour. The letters of the xylographic inscriptions 
are clearly cut in a dialect of Upper Germany. Some of the capital letters are 
particularly good. A watermark is present, viz. a bull's head with crown and 
flower on a central stem. 

The two rows of figures and their titles are 7f inches in height, and 1 3g 
inches wide. Each human figure cut is 2$ inches high by l ^ inches wide, 



THE TEN AGES OF MAN. 301 

having their inscriptions above in a space about if- inches high by 1|- inches 
wide. These inscriptions are marked off from the figures below by a black line. 
In the row of animal figures the inscriptions are not separated from the animals 
by any such line. The space occupied by the two, i.e. animals and title, is 
about 2i inches in height, by ij- inches wide. 

The sheet has been much damaged at all four margins ; as it now exists it 
measures in toto 9|- inches in height, by 1 3 inches wide. 

Weigel, in the introductory paragraph to his description of our present sheet 
(vol. i. p. 330, No. 206), thus writes 

" The division of Human Life into 1O periods of age, based on physiological 
grounds, is probably as old as the time of Solon, but at any rate belonged to that 
of Philo Judffius. This division was continued in Christian times, and was expressed 
in the glass paintings of the windows of Christian churches, in independent paint- 
ings, woodcuts and books, and still lives in the sayings of the people. Going along 
with the divbion into ten periods of life is one also into Seven Ages. This is as- 
scribed by Pollux (' Onomasticon,' ii. 4, p. 57i ed. Bekker) to Hippocrates, 
and as probably being again repeated during the Qth Christian century in the 
Talmud (Midraschon Ecclesiastes, i. 2). The seven ages of life were represented 
in the woodcuts of the 1 5th century, but apparently enjoyed no further extension 
of popularity with the people than did the division of life into 14 periods proposed 
by Jehudah Ben Tima in the 1 4th century." 

On this subject the following may be referred to 

The notes, Nos. 1 56, 1 57, to Weigel's account, op. cit. Passavant, " Peintre- 
Graveur," vol. iv. p. 335. " Das Menschliche Leben in Thiergestalt im Innern 
der Wartburg." " Das Miinnliche Geschlecht." " Das Weibliche Geschlecht." 
Eisennach. 

[9f X I3f in.] [Coloured.] 

D. in. 
THE SEVEN AGES OF MAN. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 
HAARLEM. 

g* HE Seven Ages of Man are here represented by figures engaged in 
occupations common to the particular epochs of life. 

The design may be described as being divided into two parts a lower 
and an upper part; the separation of the two portions being effected by 
tin- roof and wall of a house and court in which the action of the lower part of the 
design takes place. The spectator is supposed to look beyond and above this 
house and wall towards a landscape elevation on which are grouped seven figures 
connected with five ages of man. On our extreme left sits anaked infant holding 
up a flower to a boy before him, who extends a toy windmill in the right hand ami 
rides ' a cockhorse ' on a pole. Next to the boy stands a youth drawing a bow, the 
arrow (imprinted) of which would be directed to the left hand. With his back 
turned to the youth with the bow stands a young man in the vigour of lift-, holding 
a hawk or falcon on his left hand. Still more to the right is a gn.iip of three 
men advanced to the years of maturity both of mind and body. Their gait and 
manner are sedate and thoughtful, and they are clothed in close and warm 
drapei-ie- appropriate to their age. One person with his back to the spti 
and in cloak ami clogs leans on a stick. 

Uelow we look into the licdromn and courtyard of a ca-tcllatcd house. In the 
room lies a sick person on a Ucd within an alcove, the curtains of which are drawn 




302 WOODCUTS. 

aside. Before the bed and facing the spectator stands a physician, holding 
up to the light a glass urinal that he may judge of its contents. The phy- 
sician is of advanced age and draped accordingly. The floor of the chamber 
is of a chequered pattern. Without, to the right hand, in the court site a sick, 
thin, aged man on the ground, whose tunic is open over the chest, exposing the 
nude and meagre body. By his side and between him and the door of tin- 
house is a person who appears to be rendering assistance of a surgical character 
to the sick man before him. He is applying something to the chest below 
the right clavicle with the right hand, while with the left he holds the sick man 
by the right wrist. The medical assistant's tunic is furred at the bottom and 
girded at the waist, and he wears at his right side a satchel or pocket depending 
from the waist. This lower part of the design represents probably a public 
hospital. Behind the figures in the court rises a battlcmented wall, above whidi. 
and close to the tower of the building, lies on the ground a dead body, reduced 
almost to a skeleton. This body is half hidden by the upper portion of the tower. 

Colour has been applied. The vestments of the youth, of one of the middle- 
aged men, and of the physician are of red madder. The jacket of the man with 
the hawk, of the hospital assistant, and the landscape elevation are of a yellowish- 
green colour, as are also the curtains of the bed. The sick man in the court and 
one of the men in the group of three above are draped in robes of a dingy blue 
colour. Browns and greys are elsewhere employed. The whole is enclosed in a 
black border line. Below this line, at the bottom of the cut, a former possessor 
has written, "Printed at Haarlem by ? Bollaert, 1485." 

The watermark of the paper is a Gothic IP. 

[7|- X 5i in-] [Coloured.] 



D. 112. 

THE KALENDAR OF JOHANNES DE 
GAMUXDIA. 

(ORIGINAL BLOCK, FIRST QUARTER OF THE FIFTEENTH 

CENTURY.) 

ULM OR NURNBERG. 

! MPR KSSK )NS from two xylographic cuts, exhibiting parts of a knlcndar 
known as that of " Johannes de Gamnndia." The original cuts were 
engraved on the opposite sides of one and the same block. This block 
came into the possession of Baron Derschau, who had impression- 
worked off from it for his work, entitled '* Ilolzschnitte alter deutscher Meister in 
den Original-Platten gesammelt von Hans Albrecht von Derschau - vn 
Rudolph Zacharias Becker." Zweyte Lieferung, p. 3, pi. A, 17. Gotha : l8lO. 

The impressions from the cuts on the recto and verso of the block were joined 
together in Derschau and Becker's work, as forming a single sheet. 

The sheet before us appears to belong to those impressions published by 
Derschau now more than half a century back. This sheet contains part only 
of the original Kalendar, which in its complete state consists of four parts. Tin- 
present portion is the time almanack only. The other portions consist of (2) 
the "periods for bleeding;" (3) a key t<> tlie finding <>(' tlie latter, and of tlicir 
inti-rvals; (4) a key for finding tlie I >omini> al letter.- and tlie Gulden Numbers. 
The original Kalendar, composed by 1439, was in manuscript, ami there is not 







THE KALENDAR OF OAMUNDIA. 303 

any surety that it was engraved before the beginning 'of the last quarter of the 
fifteenth century. Weigel possessed an early impression of the present part the 
almanack. 

The following notice accompanied the impressions worked off for Derschau 
and Becker (op. cit.) 

"A periodical almanack for thirty years from the year 1439. The oldest 
Ephemeris hitherto known to astronomers being that of John of Konigsberg, which 
appeared in 1474. The present almanack indicates for each month the Golden 
Number, the Dominical Letter, the feasts and names of the saints, the course of 
the moon, the sign of the zodiac, and the length of the days and nights. Above 
each month are represented in small medallions persons following the agricultural 
duties of the season, with the exception of the month of January, where we see 
Janus seated at a table, holding in one hand a drinking-cup, in the other a fish. 
The name of the author of this precious memorial of xylography may be found 
inserted at the end of the month of February. It is given as 4 tyec jfttaoiflter 
Jobannf fi Be 5amunHia,' a celebrated mathematician and astronomer. He was a 
native of Gmiinden in Styria, living at Vienna as Professor, Chancellor of the 
University, and Canon of St. Stephan's. He died in the year 1442. 

" In order to be convinced of the antiquity of these blocks, impressions from 
them were communicated to connoisseurs through the medium of the journal of 
the celebrated Baron de Zach, ' Monatt. Correspondenz zur Bef orderung der 
Erd-und Himmelskunde.' 

" M. de Lindenau associated with them biographic notes concerning the 
author, Johannes de Gamundia (see the number for the month of December of the 
said journal) ; and M. Grotefend, Professor at Frankfort-on-the-Main, has pub- 
li*he<I a scientific explanation of this Kalendar, which astronomers regard as a 
discovery of high importance for the history of mathematics. (See the month of 
March, 1 809, of this journal.)" 

It has been stated that early impressions of the present xylographs were for- 
merly in the possession of Weigel. From his account of them, given in the 
" Anfange, etc." vol. ii. p. 158, No. 287, the following is extracted 

" Johannes de Gamundia, called, from his family name, ' Nyder,' was a native 
of Swabian Gemiind, and not of ' Genmnden am Traunsee,' as asserted by Falken- 
stein. He was brought to Vienna by the eminent Dominican, Dr. Johann Nyder, 
of Isny. There he studied ; became Majjister in 1406; canon of St. Stephan's, 
on the 3Oth of April, 1411; professor of astronomy in 1423 ; later, deacon of 
the philosophical faculty ; and, finally, chancellor of the University. He died on 
the 23rd of February, 1442, and was buried in St. Stephan's. 

On our table the name of the author is placed at the end of the month of 
February, the only vacant spot which could be occupied by such information. It 
is given as ' U?ec iirlaciotcr Johannes De &amunDia.' 

" This kalendar consisted not of one table merely, as the existing block of the 
Derschau collection represents, since the manuscript (of twelve folio sheets), for- 
merly in the library of the Earldom of Windbag, but now not forthcoming, 1 had at 
tin- end the following remarks 

" Hin' Kalendarium cum ituiit Canonibui et tabulix, compositum est Wienne per 
jinitfixtrum Jnhnniifiii <l< ^miindin ( 'tuiuiiicutn stincti Strphnni ibitlrin rt jilebnnum in 
laa anno Domini 1439 curren. feria sexta priiu Agntfn- unno 1472. Compare 
Kantz's ' (u-schichte der osterreichischcn Gelehrten.' I. I!.. S. 30. 

"Tliis i* rim firmed by an edition of this Kalendar now preserved in the Impe- 
rial rnllrrtiim of engravings at Berlin, and wliii li c mituins 1st, the day Kalemlar 
on four >ln-i't-i; 2ni|Iv, (lie taM' of tUIMt for bleeding] 3 rt lly the 'onvrntioiial 
little figure roimcrteil with lileeiliii;:. ami in<li<-ation- for the finding of tin- inior- 



1 Other MSS. an- in St. Florian and in tlio Imperial Court I.ibrurv at Vienna. 



304 WOODCUTS. 

vals ; 41 hly, a key to the ' finding of the Dominical Letter and of the Golden 
Number. 

" We possess two tables only 1st, the day kalendar ; 2nd, the table concern- 
ing bleeding. The day kalendar is an old impression from the Dersohau blm-k : 
it is on greyish-white paper, with a watermark. The sheet is printed on l>tli 
sides ; the notices of the octaves are not supplied merely to fill up spaces in the 
kalendar, but on ecclesiastical grounds. 

" There are only five days without such notices viz., the 4th of February , the 
12th of July, 5th of September, loth of October, and the 14th of November. 
The order of feasts varies very much in different kalendars, as a comparison, e.g., 
of the kalendar of Johannes de Gamundia with that of Johannes Regioraontanns 
proves. The Kalendar must have been printed [engraved ?] between 1470 and 
1480, as the hair of the females and the -nun I of the young man show, compared 
with the figures in the 'Defcnaorium ' of 1470, and the German Bible of Koberger, 
Th. i. a 1 29." 

Each table of the present impressions is enclosed with a black border line, and 
measures 1O|- inches high by 15 inches wide. As they are joined together to form 
a single sheet, the latter measures 

[22 X 15f in.] [Uncoloured.] 

D. 113. 
A FRAGMENT OF A KALENDAR. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 211, WEIGEL.) 

SMALL portion of a Kalendar, consisting of two columns of typo- 
graphic text, diagrams of the Sun and Moon, and an arabesque-like 
ornamental scroll below them. The column of text on the left hand 
contains the following, in seven lines 

" 31m bomunc an mittooeb nocb un0er JFrotoen ta<j net Iieebrmc00 toerlorer Hi 
mo jrrn ccbm nil tout cant) fineter un bcfat cub an nocb mttnacbt 00 r0 ii Qr cht 
un jriiti tnnt am 0ro0te 00 co iiii flrcbt tin ennet oicb 00 e0 to flccbt unti jrltoi 
milt." 

The seven lines of the text of the column on the right are as follows 

Jm beto mart an fritac toor cant j-Haria manalrna tag toirt Dcr %>un tin tcil 
bom mon benecfct a(0 jn Dtt figur bejeicbnet ict unti bebt 0icb an nocb mitac 00 r0 i 
flecbt un jcjrt). mnt un tot am croatcn 00 e0 ii flecbt un ibu mat uu entict 0icb 
00 re ii, flecbt un bit mitt." 

Below the columns of text runs an arabesque or floriated scroll. On the 
terminal dower to the left is the naked bust of the youthful Saviour, with a cruci- 
form nimbus, and holding in the right hand some ears of corn (?). On the oppo- 
site terminal flower is a naked bust with plain nimbus, and ears of corn (?) in the 
left hand. On the upper edge of the scroll near the figure of the Savimu- >tunds 
a dove with outstretched wings. On the edge of the scroll by the other figure is 
perched a dove with closed wings. 

Along the middle of the scroll runs the greeting 

" Cm . cut . celifl . ior." 




FRAGMENT OF A KALENDAR. 305 

Between the words " eelifl," "ior," and the word "tot" and the bust on the 
right are little black figures of nondescript animals. 

Colour has been employed. Below the diagram of the moon on the left hand 
has been written with the pen, " Anno dfiio mcccclxxxvii.," and above the diagram 
of the sun " Ixxxvii." ; thus proving that the Kalendar had been engraved at least 
by 1487. According to Weigel, a kalendar beginning " Anno dflu Meccclxxxv." 
might be seen a few years ago exposed in a shop window at Erlangen, which 
hail a similar ending to that of the present fragment. 

"The colouring looks like, it is true, that of Upper Bavaria ; but the dialect 
is of Niirnberg. Since Johannes Regiomontanus prepared kalendars in Niirnberg 
particularly, this fragment may have belonged to a 'Niirnberg Kalendar/ .... 
The general text of the kalendar is typographic ; that on the scroll is xylographic. 
There is not any watermark present." 

[3f- X 9 in.] [Coloured.] 



D. 114. 
AN EMBLEMATIC FIGURE OF THE WORLD. 

SIXTEENTH CENTURY. 
GERMANY. 

LARGE sheet containing xylographic text and an illustration emble- 
matic of the world. A winged female figure of human characters at 
the upper half of the body is supported by a single claw-like leg of a 
large bird on the top of a small sphere or globe, which rests on the 
ground at the bottom of the print. The figure is crowned with a diadem of highly 
projecting ornaments, below which is a fillet of feathers (according to the text) in 
fnii it ; behind, the hair is arranged in a filleted or wreathed manner circling the 
houd. The head is inclined over the right shoulder, but is full face to the spectator. 
The right arm is extended, a cup or chalice, with its cover, being supported with 
tin* right hand. On this extended right arm stands an ass, which progresses at a 
walking pace towards the chalice. The latter and the animal are backed by the 
strongly ribbed extended right wing. 

On the left wing just above the shoulder of the figure sita a dog, looking up- 
wards and towards the spectator's right hand. In the left hand of the figure i- a 
curved furcated wand something like a flesh-hook or grapnel, which extends above 
the left wing. The figure is clad in a tunic fitting close about the body, and 
girded at the waist, but having rather loose sleeves. It is open triangularly over 
the chest, exposing an undergarment with an ornamental border round the neck and 
part of the shoulder-straps. Below the waist falls a short loose piece of drapery, 
which hides the junction of the trunk of the body with the supporting bird-like 
leg. The upper part of this leg is marked with imbricated feathers or scales. 
Below a figure of Death grasps the bird-like limb above the claw with both hands, 
and bites eagerly at the middle of the leg. 

From Death's abdomen darts a serpent with a small crown (?) on the head. 
Death supports himself by kneeling with the left leg on the globe, and by the 
tehed right foot on the globe behind the claw of the figure. 

The general cluw or foot clasps the globe on which it stands with four large 
minor claws. 

The figure hus been enloured after the Swaliian manner. The diadem, hair, 
chalice, claws, and outermost drapery, &c. are yellow ; the wings ami inner tunic 
are bright green ; the outer tunic is madder red : the a dog, Death, and the 

X 




306 WOODCUTS. 

leg are of a deep brownish-grey colour. On the left hand side of the figure below 
the chalice are twenty-four lines of German poetry in xylographic characters 
descriptive of the moral aspects of the world, and of their relations to the accom- 
panying emblematic figure. 

This description is carried over to the right side to the extent of twenty-two 
lines. The lines on the left hand side begin high up immediately below the sleeve 
of the arm supporting the ass and the chalice, and extend downwards to a level 
with the top of the sphere. The text on the other side begins lower down, and 
ends within three-quarters of an inch of the border of the engraving. 
The text begins 

ftcbotoent hie June unD alt 

Der toelt figur um ir ge0talt 

CClif gar betroQen t0t ir enD 

Di0 orhe.it oh ir toenD 

>i treit fin bron too fcDre ;art," etc. 

On the other side it continues 

"Den feratoel Den Die toelt tre^t 
Da0 faetutet gitifteit," etc. 

The verses ending 

Dan 0int hetrogtn gar ir feint 
Die op tut geoebenD blint 
$Ullieb enD Die toelt bat 
Der ir nit Difnt tot nun rat." 

In a transverse margin at the top of the xylograph are six couplets in two lines. 
The greater part is undecipherable, from the damage the print has received at its 
upper portion. Elsewhere the cut is admirably conserved. The whole is enclosed 
within a narrow border of two rows of chequers, the latter longer than they are 
broad. 

[15^ X lOj-in.] [Coloured.] 

D. IIS(a), (b), (c). 

TABULA CEBETIS. 

i 

KEBHT02 niNAS. 

SIXTEENTH CENTURY. 
POLAND, GERMANY. 

'IIREE separate prints (a, b, c), representing the same subject viz. 
the Course of Human Life, according to the " Tablet of Cebes the 
Theban." 

This Cebes, the reputed author of a short dialogue in Greek, 
written in an easy style, worthy of the best period of Attic prose (Athena-uin, 
1878, No. 2665), was a Theban of Boeotia by birth, circa 420 years before Chri-t. 
He went to Athens, was a disciple of Philoluus the l'vtha;_'orean, became a close 
friend of Socrates, and was introduced in the Phaedo with his friend Simmian. 

Three dialogues are attributed to Cebes 'E^o^>/, tyi/vi^oc, and n<va. Of 
the first two not anything is known ; the last is twice mentioned by Lueiau as a 
picture of human life of repute in his day. It afterwards became highly popular, 
being translated into nearly all the Knroj.ean lugvagw, and even into Araliic. It 
was used for educational purposes, at least until the middle of the last century 
(Jerram). There exist not lens than thirteen MSS. of the " 1'inax." 




TABULA CEBETIS. 307 

" The tablet itself, from which the name is derived, is a picture, dedicated in :i 
temple of Cronos, by some votary, Xoyy rt KO\ tf/yy tlvdavopiiav rtvu MM 
\\apfjLiviStiov ifaXuKuis fttot'. The picture represents a circular enclosure, within 
which are others, smaller, and each enclosure is entered by a gate. At the entrance 
to the outermost circle stands a crowd of people, to whom an old man is talking 
apparently with much ardour, and within the circle at various points women, 
singly or in groups, are represented sitting or standing in various guides and pos- 
tures, or moving among the people, who have already passed the outermost gate. 
Tin- youth who reports the dialogue was gazing with wonder at this picture when 
he was accosted by a stranger who volunteered to explain the hidden meaning of 
the artist. The old man at the gate, it appears, is the presiding Genius, who, to 
each man as he enters the world, points out what is desirable and what is to be 
shunned. The women within the first circle are Deceit, Lusts, Retribution, 
Remorse, and their like ; while apart, in another circle, dwell the Virtues, 
Happiness, True Learning, and her daughters Truth and Persuasion. As the 
stranger describes the various figures, and explains how these are tempters that 
would beguile and those are helpers that would refresh the pilgrim on his path 
to that inner circle where True Learning, if haplyshe approve him, may bring 
him at last to his goal, the throne of Happiness, various topics of Socratic 
discourse arise, and the young man learns ' the identity of Virtue with Know- 
ledge, the insufficiency of Sense, Knowledge, or Opinion, and of the sciences 
as a means to virtue, and the danger of a false conceit of knowledge.' The 
true Socratic tendency of the whole dialogue has caused it to be ascribed to 
that Cebes who was the friend of Socrates, and was present at his master's death. 
Mdcm criticism, however, has disproved this opinion from internal evidence, and 
is inclined to place the work somewhere about the time of the Attic revival of 
which Lucian is the most prominent representative." (" Athemeum," No. 2665, 
for November 23, 1878.) 



D. I 15 a. 

TABULA CEBETIS. 
1519- 

CRACOW. 

tlic upper left hand corner of this print is the following inscription 
in Roman typographic characters, in twelve lines 

"Hoc Pictasma sub felicissimo Reverendissimi D. D. Pctri c|>i 
premissien Regni Polonie, Viceeacellarii patroni sui gratiori auspicio 

Victor in lucein dcdit. Anno a natali Christi. 1519." 

On'a tablet held ly the describing "Genius," at the side of the " Porta Vit," 
are the numerals 1519. 

( >u a margin at the bottom of the print are the words, 44 tabula Cfbfti* 
ah litcronpmo IpiCtore imptCUAja eTraccotiJe," in rather large and fine Gothic cha- 
racters. 

[I5 X 11 1 in.J [Uncoluuwd.J 





3 o8 WOODCVTS. 

D. 115 b. 
TABULA CEBETIS. 

SECOND QUARTER OF THE SIXTEENTH CENTURY. 
GERMANY. 

'HE chief features of this illustration of the picture of Thebes express 
much the same ideas as are exhibited in the previous Polish example. 
All the inscriptions, however, on the scrolls and tablets are in German, 
and in typographic characters. 
The title on the margin at the top, beyond the border line, is in I -at in, viz. 
" &abula Cfbetifl fjebani," in large Gothic characters. 

The draperies of many of the figures, the walls, gates and trees have been 
coloured. 

[16 X iifin.] [Coloured.] 

D. 115 c. 
TABULA CEBETIS. 

STRASSBURG. 
1546. 

'HIS illustration differs considerably in its details from D. 1 15, a and b. 
It is also much superior in design and technical execution to both of 
them. It has not, however, any scrolls nor tablets bearing inscriptions. 
It has for the title on the margin beyond the border line at the top 
" TABULA CEBETIS " in large thin Roman capitals. 

At the lower part on the base of one of the pillars of the " Porta Vitse " is the 

monogram JO* implying David Kandel of Strassburg (?). 

This example is noticed by Passavant, who observes, " La composition rappelle 
celle de Holbein." (VoL iii. p. 349.) 

The print is also recorded in Rudolph Weigel's " Kunst Catalog," No. 28, 
No. 2 1 505, where it is stated to be in " Holbein's Manier oder nach ihm " " eine 
Hauptblatt Bartsch t. i. ix, 392 fehlend." 

This cut was formerly delicately coloured, but the colour is now nearly gone 
from the washings to which the print has been subject cil. 

On the subject of this allegorical F1INAH seu Tabula Cebetis the following 
works should be consulted, "KEBHTOX HINAH Des Cebes GcmiiliU-. von J. 
D. Biichling und G. F. W. Grosse. Meissen (B. M. Lib., 8461, b b)." 

"De Arte Critica Cebetis Tabulae adhibenda von Dr. Conrad Miiller. Wiirzburg, 

1877." 

"KEBHTOI I1INAS Cebetis Tabula, with Introduction and Notes by 
C. S. Jerram, M.A., &c., Oxford, 1878. (Clarendon Press Series.)" 

[l3f X 1 6 ial [Formerly coloured.] 





MIRROR OF DEATH. 309 

D. 116. 
THE MIRROR OF DEATH. 

LATTER PART OF THE FIFfEENTH CENTURY. 
ULM. 

SHEET containing both text and illustration having reference to 
Death, the common end of all men. In the middle of the upper half 
of the sheet is a woodcut 5J- inches high, by 3^ wide. It represents 
a figure of Death rising from out the open mouth of one of " Bert 
bellicchrn fcuntof." Around Death is twined a large serpent which darts forth its 
head towards the spectator's right hand and over Death's left shoulder. The tail 
curls through between Death's thighs. The latter extends his arms, and the staring 
skull seems to express the pain which is felt from the flames darting up around 
the legs of Death as he rises from the jaws of Hell. The head only of the Hell- 
hound is portrayed ; the teeth, the bristles at the nostrils and the staring eye 
being the chief details. 

The cut has been coloured. The serpent and hell-dog's head are green, the 
flames issuing from the mouth of the latter are rose madder, while Death himself 
is brown. A black border line encloses the design. 

Directly above the cut are these four lines in German Gothic typographic 
characters 

" Diacr epicccl tat cemain 
IRcicb arm 01000 unto Ulcin 
(Etoel ccpurt junc unto aft 
uHrrtornto all alco cc-talt." 

Below the cut are the four lines 

44 C;t? ricbt cot reebt 

ft)ie Irpt toer berr beg torm f>neebt , 

Ketch unto arm nun conto i?eibep 

Cin ficbatoent toer to'beir oto' fcnecbt 0ep." 

A fifth and sixth line, apparently in continuation 

44 ftcbatoent an ir btiitoct all 

CCiic ciicf) toie berberc cefaH 

are placed over the column of text on the right hand side of the lower half of the 
sheet, while the conclusion of the whole is at the top of the column of text on the 
right hand side of the sheet, viz. 

Damit bat toao cetoiebt ain rnto 
ot unc alien bummer toento." 

On each side of the cut, and on the lower half of it, are lines of poetry and 
supposed wise sayings i.t' illustrious men, as of Seneca, Chrysostom, Heda, Jerome, 
Magnus AlUertus and others. 

This text commences at the upper part of the left hand side of the sheet with 
the admonitory words from Death 

44 31 1 mcn0cbcn all toie bie fiir canto 

/?rmeaDtoioer ficur toar unto toerctanto 

Dienent cot unto flirbcnto toie tacit 

CCJann 0j c?pt bb0e0 toi:.ercelt 

Jcb toao eitoan 0cbo'n unto rncb 

Da0 man fcaum fanto mrin cl'icb 



3 io WOODCUTS. 



bin icb mit tolumen umboebrn 
Da0 bon irb terocljult mit mri.nan leben." etc. etc. 

The account which Death renders ends thus 
" >tti Dice ftlae in Heine miit 
Scbaft" tor bin Hae Tumcfet micb QOt 
/2acb Uifler refce but cot fiir micb 

I nlrt't re nit micb 00 nilrtt cc Dicb." 

After some aphorisms from the sages come the name and address 

44 D?ann0 bausfi briefmalcr jti ffllme." 
[14| X 9f in.] [Coloured.] 



D. 117. 

THE EMPEROR HENRY THE SECOND AND 
HIS CONSORT KUNIGUNDA. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 20 1, WEIGEL.) 

our left hand stands the Emperor, Henry II., crowned and draped 
in a rich mantle. In his right hand is a golden sceptre ; with the left 
hand the Emperor assists in supporting (along with his wife) the model 
of a church, having four towers the Cathedral at Baraberg (?). 
On the right hand stands Kunigunda, crowned and draped in a long mantle. 
She holds a sceptre in the right hand, and supports with the left the be- 
fore mentioned model. Below the latter and between the two royal figures hang 
two shields of arms. The shield on the left blazoning the arms of Henry, viz. 
the Bavarian chequers and imperial eagle party per cross ; the shield on the right 
having on it the arms of his Consort, viz. a golden lion in a field sable. These 
arms answer also to the Earldom of Luxemburg. The ground is squared. 

The print has been carefully coloured. The drawing is careful and correct, 
and the attitudes are good. The pose of the Empress is especially noteworthy, 
as is also her expression. 

The pointed shoes of the Emperor Henry, the hatchings of the folds of the 
draperies, the colour of the sky, and the forms of the shields incline one to consider 
the time of production of this cut to be that of the middle of the second half of 
the fifteenth century. 

Weigel considers the technic to be that of Upper Germany, but that the sn !< 
of colouring adopted is not that of Ulm. The paper has not any watermark. An 
impression of this cut is stated by Weigel and Bartsch to be preserved in the 
Imperial Collection at Vienna. 

In "Die Holzschnitte des 141111-1 15 Jahrhunderts in Germanisi lien MHMMUM," 
Niirnberg, 1874, the 1 24th plate is a facsimile of the present engraving. Below 
the design is printed on this copy 

" Titclholzchnitt der Reformation des Gerichtcs der Dechancy des Thumstiftfs 
zu Bamberg, 1488." 

[5f X 4$ in.] [Coloured.] 




DIVISION E. 

EXCEPTIONAL PROCESSES. 



E. i. 




CHRIST WASHING THE FEET OF HIS 
DISCIPLES. 

An Impression in Paste "Empreinte en Pate" " Teigdruck" 

SECOND HALF OF THE FIFTEENTH CENTURY. 

UPPER GERMANY. 

(HIS is an example of a little understood process of taking 
impressions from a metal plate engraved in relief. Spe- 
cimens illustrative of the method of proceeding therein 
adopted are extremely scarce, and such as have reached mir 
own time have undergone such changes and deterioration as 
often to render the subject even of the compositions difli- 
cult to make out. Under the title " Empreintes en Pate," 
Passavant, 1 who has more fully described these peculiar 
prints than any other writer, notices three varieties of 
the process of producing them. Of one only of these varieties does the Museum 
possess an example ; hence we are here confined to its description alone. 

At first sight the print before us exhibits but an indistinct design formed out 
of an elaborately involved series of lines of a deep ochraceous hue running over 
a ground of vandyke-brown colour, or a thin layer of asphaltum, bitumen, or 
animal glue. This design u enclosed within a running border of leaves, at the 
four angles of which border are rosette-like ornaments. The entire composition, 
which is somewhat irregular in its boundaries, averages 4 ,'^ inches in height, and 
2|. inches in breadth. Of these dimensions nearly ytbs of an inch are occupied by 
the border. There is a margin of about |ths of an inch wide of clear paper <>n 
three sides of the impression, and one of th to fths of an inch on the right hand 
side of it. At the extreme edges of the top and bottom margins are perforation-; 
made by a needle, with which the piece was sewn to the inner portion probably of 
the vellum cover of an old book. 

On close inspection of the print in a strong light, the general forms of the 
design are capable of being made out with a little trouble. The subject repre- 
sented appears to be our Lord washing the feet of His disciples. Stand in;; 
figures of four of the latter are visible in the background ; the hea<N. encircled by 
plain niinlii, licing clearly to be made out. In the foreground to tin- ri^ht is 
another rli-riple, who i- seated, and whose feet Christ is washing. The cruciform 
nimbus around our Lord's head i:' distinctly vi-.il. lc. 

Tiio forms and contours are defined by the light orhre-Iiki- portions of tin- 



1 " Le lYintre-CJraveiir." vol i. p. IO2. See also " Die Anfange der Drucker- 

kunst, cU:.," von Wei^-el un<! Xi-termann, vol. ii. p. 331. 



3H EXCEPTIONAL PROCESSES. 

imprint, within which are the superficial masses of the darker liituminons-like 
matter. The materials through the aid of which the imprint has been perfected 
must have been of a thick pasty, or glutinous character. These materials have 
cracked, peeled, and powdered away from the effects of time, damp and friction, 
and thus the appearance the specimen now presents must be very different from 
that which it once exhibited. 

1'axsavant makes (vol. i. p. 103) the following observations on examples of and 
the method by which this variety of impression was produced 

" This very peculiar style of engraving comes before us in certain impressions 
(of rather coarse character) in relief on paper, which belong to the second half of 
the fifteenth century, and of which some examples have reached us pasted on the 
covers of books coming from Upper Germany. 

" Their in general bad state of preservation scarcely allows of our forming a 
correct opinion as to how they were originally executed, but it is an error to sup- 
pose that they are impressions in sulphur on paper, since a number of these prints 
particularly of those belonging to the Oettingen-Wallerstein collection in the 
chateau of Mahingen become dissolved so to speak when water is employed 
to detach them from the covers of the books to which they are attached, while such 
as have been separated dry remain intact. 

" From our own investigations in connection with certain well-preserved speci- 
mens, it appears to us that the procedure adopted was as follows. The metal 
plate, the intagliate parts of which had been previously filled with a coloured 
preparation most frequently black, of the consistence of paste, having been 
made warm, was impressed on paper prepared with yellow ochre, and thus the 
design came off in relief and of a dark colour. In the large masses of shadow the 
contours often become confounded together, blotchy spots taking their places. The 
face, the hands and other flesh parts were ' peintes en blanc.' Remains of gild- 
ing inform us that gold was used for certain ornaments, and we find in one 
instance that some metallic powder or a solution of copper was applied to the 
print. This application has not been preserved in the greater number of prims, 
which have a dirty and brownish tint." 

The present example was purchased at the sale of the collection of (In- Messrs. 
Smith in 1845, and when received was fixed on an old board, and accompanied by 
German woodcuts in a portfolio. 



E. 2. 

SAINT PETER MARTYR. 

Forms detached Black from a White Ground. 
LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 404, WEIGEL.) 

. PETER MARTYR stands erect, directed in action towards the spec- 
tator's left hand. He is draped in monastic habit, is tonsured monasti- 
cally ' and bears a nimbus. Across the head from the brow to the vertex 
runs the mark of the wound by which his martyrdom was effected. The 
Saint holds upright a short broad sword in the rL'lit hand, and a book in the left. 

1 On the " tonsure monastique " and the tonsure " du clerge scculier," see 
Cahier, op. cit. vol. it p. 773. 




BLACK ON A WHITE GROUND. 315 

As a whole the design may he described as in black relieved by a white ground ; 
some of the forms nevertheless are given by white lines on a black ground. Such 
latter forms being seen, e.g. in the folds of the drapery, features, hair, wound of 
head, &c. The foreground consists of tufts of grass black relieved from a white 
ground. 

Tin- design is enclosed within an ornamental frame work or border ^-ths of an 
inch wide. Along the centre of this border runs a sinuous branch bearing alternately 
sessile, crenate, and recurved leaves which come black off a white ground. All 
the whites in this print were in relief on the original metal, which is believed by 
Weigel to have been engraved for the purpose of producing some form of an im- 
pression in paste or teigdruck. 

The present impression is a comparatively modern one, worked off simply in a 
thick black ink. 

[4 x 2j in.] [Uncoloured.] 

E. 3. 
THE LOVER. 

Forms detached Blade from a White Ground. 

LAST QUARTER OF THE FIFTEENTH CENTURY. 

GERMANY. 
(No. 405, WEIGBL.) 

[N the middle of the print stands a young man stiffly erect and looking 
towards the spectator's left hand. He is draped in the costume of one 
of the better classes, or is even fashionably attired in relation to the 
taste of the time. His well-fitting surcoat slit at the side reaches 
in >\>tcm;itically arranged folds to the knees. It is tightly drawn in at the waist 
and retained over the hips by a girdle which the wearer holds up with the left hand. 
The youth has on tight hose and beaked or long-pointed shoes. On his head is 
a flat cap having long pendent strips of drapery, which fall to the shoulders. 

The foreground is a grassy flowery bank. The background is enfloriated with 
stalks and flowers, black on a white ground. From the young man's right hand 
nins a long scroll which curving over his head descends behind him to a level with 
the cahe- nt' tin- leu's. On this scroll with a white ground is the following inscription 
in well engraved black Gothic characters 

" libe 0t eine fcarte qual. 123 cr si niebt toei00 acb Deme iot tool." i.e. " Love 
is a great sorrow. Happy is he who knows nothing of it." 

At the bottom of the print on a white margin immediately below the fore- 
ground are the words in large Gothic characters 

"Be libe toil mi mort)?." i.e. "Love will kill me." 

The original metal plate from which this comparatively modern impression has 
been taken is supposed liy \Veigel to have been engraved for a like purpose as was 
that ni' !). 2. The design and vxecution are very much those of a goldsmith 




The print is alluded to l.y Passavant (vol. i. p. 234), who head* liis account of 
it and of another print of the MIMIC kind with the title " r'L'ure* en noir snr fond 
blanc." He continues, "a very singular kind of engraving is that which causes 




316 EXCEPTIONAL PROCESSES. 

figures to be relieved in the guLse of silhouettes with white hatchings from a ground 
equally white. Two prints in this manner belong to the collection at Coburg." 
(Op. cit. i. p. 234.) 

Weigel also describes this print of the " Lover" (No. 405, vol. ii. p. 334). 

[3g- X 2 F in -J [Uncoloured.] 



E. 4 . 
THE AXGELIC SALUTATION. 

Forms detached Black from a White Ground. 

LATTER THIRD OF THE FIFTEENTH CENTURY. 
GERMANY. 

FACSIMILE by the " Amand-Durand " process of an unique print 
in the possession of Baron Edmond de Rothschild. 

In this work a very peculiar method of technical execution has been 
adopted. The chief forms may be stated to be black relieved from a 
light ground, while the secondary forms are practically evolved light from a dark 
ground. The original engraving was on metal of a soft character. 

In the technical execution of the engraving the parts of the design intended to 
appear light in an impression on paper were left in relief, and the dark parts were 
engraved in intaglio. The intagliate engraving may be seen to have been worked 
in parallel lines, cross-hatchings and dots. These cut out or hollowed parts of 
the metal received and retained the ink when the plate was made ready for printing 
from, while the part* in relief lost it as the plate was subjected to the usual prepa- 
ratory cleaning. In some portions a close resemblance to the maniere criblee has 
resulted, as also a general similitude to some of the more elaborately wrought 
sepulchral brasses. 

The chief part of the composition is occupied with the subject of the Angelic 
Salutation which is represented as taking place within a room, the entire front of 
which is open to the spectator. The Virgin kneels at a desk on our right ham I, 
and turns round towards the Angel who has entered on the left and kneels before 
Mary. From his right hand runs upwards a waved scroll, on which are the words 
in Gothic characters 

" ate cr.tia plrna Domimic trcum." 

A vase with a lily stands on a table behind and between the Angel and Mary. 
Above at the apex of the pointed and double slanting roof appears the bust of (Jed 
the Father from the clouds, from beneath which runs a ray of light downwards 
to Mary. At the end of this ray near the Virgin, and just touching the flower of 
the lily, is the Third Person of the Trinity in the form of a Dove, having a cruci- 
form nimbus around the head. Between the Dove and God the Father is the 
Second Person of the Trinity descending, lying upon the ray in the form of a small 
undraped figure bearing a Cross. Around God the Son's head is a cruciform 
nimbus. Above the roof the scene of the " Visitation" is represented <m the left 
hand, and that of tin- " Nativity " on the right. In the middle high up between 
the two is the Angel appearing to the Shepherds by night. He holds in his hands 
a scroll, on which is inscribed in an obscure and contracted manner, "(Jloria in 
N is Deo." These upper compositions are both small and inferior in artistic 
characters to the larger " Salutation " he-low, which in pose of the figures and in 







COMPOSITE EFFECTS. 317 

the cast of the draperies, as also in the work of the nimbus and of the ornaments, 
displays much feeling and grace. 

The parqueted or chequered floor or gaufre-like ground to the chamber has 
been symmetrically and carefully worked out, though it is mechanical enough, and 
the lines so entirely wanting in perspective that the whole hangs like a curtain, 
or as the diapered background of the old illuminations, instead of receding. 

X 7| in.] [Uncoloured.] 

E. 5. 

WHOLE-LENGTH PORTRAIT OF 
MARTIN LUTHER. 

SECOND HALF OF THE SIXTEENTH CENTURY. 
GERMANY. 

ARTIN LUTHER, bareheaded, draped in a preaching gown and wear- 
ing large boots the conventional Luther habit stands erect, looking 
towards our right. He holds with both hands a book open, on which 
is inscribed 

" In silentio et spe erit fortitudo vestra virtus mea in intinnii at e perficetur." 

The figure is placed under a simple decorative archway, having a short sup- 
porting column on each side. On the capital of each column is a Genius bearing 
a shield. The shield on our left has on it the crossed swords of Saxony, that on 
the right a heart with a cross in it called by some the anns of Luther. Below on 
a narrow scroll between the feet of the figure are the words MARTI 1.1 TIM: in 
Mnall black Roman capitals on a white ground. Between this scroll and the lower 
margin of the print is the mark of Lukas Cranach, a winged serpent, here white 
on a black ground. On a small block between the right foot of the figure and the 
base of the lateral column are T K as open letters white on a black ground. 

A narrow black border line encloses the composition. 

[6 X 3| in.] [Uncoloured.] 

E. 6. 

WHOLE-LENGTH PORTRAIT OF 
PHILIP MELANCTHON. 

SECOND HALF OF THE SIXTEENTH CENTURY. 
GERMANY. 

| KI. AN'CTHON stands erect beneath a purely conventional and decora- 
tive archway supported by lateral columns, ull after the saint- style as 
that of the architectural and ornamental vagaries of E. 5. He i bare- 
headed and draped in a loose, long coat with large sleeve-, upright 
collar <.f fur, and with fur borders running down in front along the edges of the 




318 EXCEPTIONAL PROCESSES. 

Melancthon holds open with both bands a book, the inscription on which is in 
parts only satisfactorily decipherable ; it ends with the words " ora et labor." On 
the capitals of the columns are Genii with shields, as in E. 5- On the shield on 
our left is the Saxon " Rue," the arms of the Dukedom of Saxony. On the t-hield 
on the right is the brazen serpent on the tan cross. On a narrow scroll below, 
between the feet of the figure are the words PHILIP MEI.AN in small black Roman 
capitals on a white ground. On the upper face of a block between the left foot 
of the figure and the base of the column are I K as open letters white on a 
black ground. 

lict ween this scroll and the lower margin of the print is the mark of Lukas 
Cranach, as in the print just described. A narrow black border line encloses the 
composition. 

[6 x 3^ in.] [Uncoloured.] 

At first sight it would appear that the original metal plates (or wood blocks ?) 
from which the present impressions were taken, had been engraved in one and 
a like manner, as was the plate which yielded the impression of the Angelic 
Salutation, E. 4. But an examination of the versos of E. 5 : ""' ' 6 ^ i" "how 
that such was not the case. In the present instance E. 5&iu\ E. 6 the darks were 
left in relief on the original, and the lights were engraved in intaglio. In E. 4, 
as stated, the reverse method was adopted, i.e. the darks were engraved en faille 
douce, and the lights en faille depargne. A point of uncertainty, however, exists as 
to whether the original engravings of these two prints, E. 5 and 6, were on metal 
plates or on wood blocks. 

Impressions (E. 5, E. 6) were described by Bruillot (vol. ii. No. 2587 [E. 6]), 
by Fassavant (vol. i. p. 1O1 [E. 5 and 6]), and in Nagler's " Monogrammisten" 
(vol. v. No. 741 [E. 5 and 6]). Bruillot described E. 6 as being from wood ; 
Passavant as " certainly from metal." In Nagler they are stated to be metallschnitte. 
To the latter statement is added the information that, " according to Bo'rner the 
blocks (Stocke) were networked for the purpose of yielding impressions with black 
colour on white paper, but for bookbinders to use in ornamenting the covers of 
books " (op. cit.). On the whole we lean to the opinion that the originals were on 
metal and not on wood. 

In the following prints included under E. 7 and E. 8, it may be observed 
that the contours, forms, and lights of the designs come off white from a black 
ground. 

In E. 7 the original engraving was we believe effected on a soft metal plate, 
while as respects the members of E. 8 it was carried out on wood blocks. In both 
instances, however, the technic was that of copper-plate engraving, or was en faille 
douce, and not either in relief or en faille (fepargne. When the originals were 
inked, however, care was taken that the surfaces only should receive and retain 
the ink, the intagliate portions being kept free and clean, so that they might work 
oti'li'jlit in the pi-intnl impressions. It should be borne in mind that in ordinary 
engraving in intaglio on metal or en faille douce, the hollowed out parts receive and 
retain the ink and work off black from a light ground; here it is the opp<>-!t<*. 
Further, in ordinary wood engraving, though as here the cut out parts are 
kept free from ink, they can scarcely be said to bestow the forms which are the 
result rather of the parts left standing in relief, and which become inked in the 
process of printing, and dark in the worked off copy. It should be remarked, how- 
ever, that in both cases it is the intention uf tin- engraver to produce the design in 
black from alight ground, but that in cll'ccting it he follows in each case an oppoMte 
ini'ilmd. In the prints now before us. the object sought was to produce the de- 
signs in white off a black ground, and to effect this the surfaces were printed from 
in both instances. 



WHITE ON A BLACK GROUND. 319 

The process is negative as respects the inking in E. 7 and negative as regards 
the actual engraving in E. 8. 

Moth metal plates and wood blocks printed off with these negative intentions 
must have been inked and worked off in the typographic manner. Why such a 
peculiar and negative style as M. Hymans has appositely termed it should have 
been adopted, is difficult to say, unless we accept the theory of Hofmann. 

In N'aumann's " Archiv fur die Zeichnendcn Kiinste" for 1867 (Dreizehnter 
cTahrgang, S. 93) is a communication from this writer on " Kin inerk wiirdiges 
Blatt de Meisters von 1466 nebst photographic." The print in question is de- 
scribed as one of octagonal shape in which the forms come off white from a black 
ground, a result evidently produced with the intention that the light and not the 
dark parts should be indicated by the technic. 

' \Vliile ordinary engraving simulates sotospeak the work of pen and ink draw- 
ingon white paper, here we have the imitation of drawings in white onadark coloured 
paper, and of such as are not unfreqnently met with belonging to the 1 5th and 1 6th 
centuries " (p. 94). ..." The delicacy of the technic inclines one to the belief 
that it was produced on a plate of silver, a metal unquestionably used by the early 
engravers, who proceeded from the corporation of goldsmiths. Not anything is 
easier to blacken than silver ; let us assume then that our engraver had a blackened 
silver plate before him, then the work of the point or needle would be that of lay- 
ing bare the plain or shining metal, and at the same time to afford the engraver an 
idea of the character of the impression which would be obtained. Without wishing 
to maintain that the print was positively so produced, I would nevertheless point 
out what a difficulty it must have been for the earlier workers to have conceived 
the engraved metallic shining lines appearing as black printed ones, and how they 
must have striven to overcome this difficulty, a difficulty they could not obviate by 
a knowledge of any traditional method of procedure. Through the not uncommon 
at that time style of drawing heightened with white r and through a like effect 
produced by shining point work on a blackened metal plate, or point work on a 
polished one reflecting a dark object only, the idea might have been easily obtained 
of arriving at a similar effect by working off impressions in white colour." 

Two impressions of the engraving illustrating Hofmann's paper are known, one 
example is at Darmstadt, the other is at Basle. Actual white colour appears to 
have been used in the print ing. since the lights are stated to be impasted and raised 
above the dark ground. Hofmann continues 

" Though before stated that not anything similar is known, nevertheless the 
Saint Dorothea of the Brussels collection, described and illu-truted by a facsimile 
two years back by M. Hymans, in the ' Documents Iconographiques,' must not be 
ignored. 

" The learned Belgian investigator points out that in this example we have only 
an impression from a copper-plate worked off by the ordinary typographic press, 
and he has employed the happy term, 'negative impression' in connection with it, 
but whirh expression, however, is not applicable to the specimen we have been 
c<>n.-idering . . . The typographic press certainly offeree It In- rea< I iest means of ob- 
taining from copper-plate engraving the effect of a drawing, heightened with white, 
without the use of white colour; all that was nr. cssary was to place under it an 
engraved plate prepared with a like intention as wa* tin- one under consideration, 
one in which the lights instead of the darks should tell. Still, of such a print the 
only example known by me is that which H. Hymans himself adduces. It is the 
title page [K. 7] to the rare work ' S 1 lieiicdicti Sennones pomcrii de tempore de 
Pelbart de Themeswar, 1498.' (S. Graesse, v. p. 187.) Passavant (vol. i. p. 187) 
eon>idi-r- it to be a metal cut; Hymans looks upon it as an iiituL'liato engraving on 
wood (rxt'cutiT en faille douce sur boix) or on a metal softer than copp. r. 

"An iiuprr->ion ol' thi- print in giNid condition lies before mo, ami I hold it to 
lie umlonliieilly thera-r that here also the intention of working by the lights din 
the graver" (op. cit. p. 97). 




320 EXCEPTIONAL PROCESSES. 



E. 7 . 
SAINT BENEDICT READING. 

Forms detached White from a Slack Ground. 

LAST DECADE OF THE FIFTEENTH CENTURY 
GERMANY. 

X illustrated title page bearing at the upper part the inscription in 
large engraved Gothic letters 

" IPomcrium Be sanctio. ftatiic ipclfaarti ovUinifl oancti Jfrancicci." 

Below this superscription is an impression from a metal plate engraved in in- 
taglio, in which the intagliate lines expressing the forms and lights of the compo- 
sition have been made to come off white from a dark ground. The plate having 
been engraved previously, perhaps, having been blackened was inked and 
printed after the typographic manner. 

The composition represents St. Benedict sitting at a desk reading. He is 
enclosed within a circular wattled fencing, within which are also three trees and 
smaller foliage. A large tree on our right hand bears fruit like apples. Between 
this tree and one on the left descends a large bird (raven ?) from the left hand 
corner of the composition. A few horizontal clouds are in the sky. The Saint 
is tonsured, discalched and in monastic habit. At each angle of the print is a 
circular medallion which for about one fourth of its circumference intrudes within 
the limits of the composition. The medallions at the top contain the emblem- .f 
the Evangelists St. John and St. Luke. Those at the lower angles the emblems 
of St. Mark and St. Matthew. Below, the print has in manuscript of four lines, 
the following 

" Sum ex Libris Thomse Far) Osterburgensis Marchiacj Cathed Ecclie Con- 
stantiensis sue centoris Emptp ibidem 48 cruciferis. 2O die Januarij. Anno 
D. 1. 5. 88." 

Then follow in two lines in manuscript, the words 

"Loci [?] Vicinos [P] BambergC 1638." 

We assume the person here represented to be intended for St. Benedict from 
the presence of the raven [?] notwithstanding that the print forms the title to a 
work by a member of the Order of St. Francis. 

" The wicked priest Florentius being fillet! with jealousy and envy at the 
superior sanctity of Benedict sent him a poisoned loaf. Benedict, aware of his 
treachery, threw the loaf upon the ground and commanded a tame raven which 
was domesticated in the convent to carry it away and place it beyond the reach of 
any living creature." ("Legends of the Monastic Orders," p. 24.) 

It is probable that the original print was designed to accompany some treatise 
by St. Benedict. 

I'ussavaiit, alluding to the print (vol. i. p. lOl), remarks 

" On y voit un moine Franciscain lisant ass is devant un pupil re, dans un jardin 
environne d'une haie. Dans des cercles, aux quatre coins, on voit les symboles des 
(|uutrc.s cvangclutes. In fol. Le style du travail et du dessin iudique la fin du 









WHITE ON A BLACK GROUND. 321 

We presume that the impression of this print in the Brussels Library, a fac- 
simile of which illustrates M. Hymans' memoir, ia devoid of any title or inscription, 
since the author speaks of the work, of which the British Museum print bean the 
imprint (quoting from Passavant), as 

" Sans doute 1'ouvrage Sennones pomerii de temporc de Pelbart de Themes- 
war (1498) cite par Graesse, Tresor des plecet rare*, tome v. p. 187, Dresde 
1863." 

In Rudolph Weigel's " Kunstlager Catalog," 26 Abtheilung, Leipzig, 1855, 
No. 20,067, is the following title, which shows the work of Pelbartius to have been 
somewhat popular 

" Pomeriu Sermonum de tempore Fratris Pelbarti de Temessvar de ordine 
minor de observantia. Hyemalis Estivalis. 3 Partes. Noribergaj. J. Stuchs impens. 
A. Koberger, 1519. f. Pomerium Senonum quadragesimalium. 3 Partes. 
Noriberg, id. eod. 1518. 19. Stellarium Corone benedicte virginis Marie, etc. 
Nurib. id. eod. 1518. f. 

" Mit dem dreimal wiederholten, Holzschnitt von A. Diirer ; die Taufe Christe, 
etc., Bartsch, App. 30. Heller, 1934." 

Both Hofinann and Hymans, as also myself (" Introduction to the Study of 
Ancient Prints," vol. ii. p. 74), have somewhat misunderstood Passavaut's views 
as to the technical execution of the present engraving. 

Hofmann remarks, " Passavant regards it as Metallxchnitt." 1 
It is true that Passavant does allude to the print immediately following an 
account of engraving on metal " A la maniere des gravures sur bois," t. e. en- 
graving in relief on metal which constitutes in fact Passavaut's " metall-schnitt." 
But, on beginning the description of the print of St. Benedict, Passavant breaks 
off from his previous subject in the following words 

" Un genre de travail tout particulier de la gravure sur metal est celui ou Ton 
grave sur la planche avec des traits tres-fins, de maniere a produire, dans 1'impres- 
sion, 1'effet d'un dessin fait avec des traits d'une grande finesse en blanc sur uu 
fond noir." (Vol. i. p. 1O1.) 

It would thus appear that M. Passavant, instead of considering the original of 
the St. Benedict to have been a metal plate engraved in relief, regarded it as one 
really worked in intaglio. 

M. Hymans, without actually stating as much, yet seems from the following 
remarks to suppose that Passavant considered the St. Benedict print as an example 
of a metal cut engraved in relief. 

" M. Passavant en outre, croit que cette estampe est un produit de la gravure 
sur metal. Nous ne croyons pas, pour ce qui nous concerne, que tel soit le cas, 
et si I'estampe de Salute Dorothee precedemment decrite a pu nous paraitre 
executee normalement sur cuivre et imprimee par les precedes de la taille d'epargne, 
cette fois au contraire nous avons sous les yeux une estampe executee croyons 
nous en taille-douce sur bois, ou a coup sur, sur un metal plus mou que le cuivre." 
(Op. cit. p. 21.) 

In truth the only difference, as it seems to us, between M. Hymans' and M. 
Passavant' s opinions is as to the original engraving being on metal or on wood 
"en taille-douce" and this difference vanishes when M. Hymans concedes that 
it may have been executed, after all, " sur un metal plus iiiou que le cuivre.'' 

Accompanying the memoir of M. Ihmans are two photographic copies of the 
St. Benedict print, one is given as printed off exactly in appearance like the 
original, i. >. white from a black ground; the other is in the reverse way black 
off a white ground. 

' Desirant" writes M. Hymans "nous rendre un conipte exact du travail 
de notre planche nous en avons fait exiYiiier une rprenve n. Dative et cette 
cpreuve, executee dans les meillenres conditions par ti :m-.|.:irence, a 1'aide mime 
de 1'original applique <lireeteinent. *nr un papier sensibli.se, nous a donne pour 
resultat un travail tellement iucomplet. qu'il nous a semble inadmissible que U 

T 




322 'EXCEPTIONAL PROCESSES. 

plum-he ait etc" executee en vue des precedes ordinaires d' impression. Nous avons 
d'autre part constate dans le trait, un ampleur et un accent, que ne donne point 
le cuivre." (Op. cit. p. 21.) 

[Entire title-page, 1OJ- X 6|- in. [Uncolourcd.] 

Central composition, 7 x 4^ in. 
Medallions i ! in. diameter.] 



E. 8. 
THE STANDARD-BEARERS OF SWITZERLAND. 

Forms detached White from a Black Ground. 

FIRST QUARTER OF THE SIXTEENTH CENTURY. 
SWITZERLAND. 

2VEN cuts of figures in white contours on black grounds. 

The following designs represent military standard-bearers holding 
aloft banners, on which in small squares at the upper parts are scenes 
from the Life of Christ, the remaining portions of the banners being 
intended to represent on them the armorials of certain Swiss cantons. The can- 
tons here represented are Schwyz, Zug, Glarus, Basel, Schaffhausen, St. Gall, and 
Soluthuni. 

According to Passavant (vol. iii. p. 429, Nos. 1 18-130) there are altogether 
thirteen cuts, in the series of which the present seven form parts. As he does not 
mention Soluthurn as being in the sequence there must be, we presume, at least 
fourteen cantons represented. 

E. 8. 1. The standard-bearer of Schwyz advances towards the spectator's 
right hand. The subject in the square on the banner is Christ on the Cross, 
accompanied by Alary and John and some instruments of the " Passion." The 
rest of the banner is plain, .but the subject on the small square may be supposed 
to represent or answer for the Greek cross on the red shield of this canton. 
Below and between the right knee of the figure and the right hand margin of the 
print is the word SCIIWITZ in Roman capitals white on a black ground. 

E. 8. 2. The standard-bearer of Zug advances to the right. The scene on 
the square of the banner is a " Pieta." The transverse bar azure of the canton 
is represented by a broad, plain, black space running transversely across the middle 
of the banner. Between the legs of the soldier is the word ZUG in Roman capitals 
white on a black ground. 

E. 8. 3. The standard-bearer of Glarus is at rest directed towards our K-ft. 
The subject in the small square on the banner is the " Resurrection." On the 
centre of the banner is a large figure of a tonsured Saint in monastic habit, :m<l 
holding a large sword, point downwards, in the left hand. This figure is intended, 
we assume, for St. Pridolin, Abbot of Seckingen and Patron Saint of Glarus and 
of HI sans. Near the left thigh of the soldier is the word (JLAK1S in K<>m:ui 
capitals white on a black ground. 

E. 8. 4. The soldier turns his back to the spectator, and looks ovor the right 
shoulder towards our left hand. The scene on the small square of the banner is 
the "Angelic Salutation," and on the general field of the banner arc the arms of 
Basel. Close to the left knee of the figure is the word BASEL white on a black 
ground. Below the left foot is the date 1521. 

E. 8. S- The soldier of SchafThauscn stands in the centre of the print, and 
looks towards our left. The scene on the small square of the banner is the 



WHITE ON A BLACK GROUND. 323 

" Nativity." On the field of the banner is a ram rampant. Below, on a line with 
the knees of the figure is the word SCHAFHUSEN in Roman capitals white on 
a black ground. One half of this word is on one side of the body, and the other 
half on the opposite side ; below the latter half is the date 1521. 

E. 8. 6. The standard-bearer of St. Gall advances quickly towards the right. 
The scene on the small square on the banner is Christ rising from a tomb, as 
in the " Mass of St. Gregory." On the general area of the banner is the rampant 
bear with collar of the town of St. Gall. The words . SANT. GALL . in Roman 
capitals white on a black ground are between the legs of the soldier. 

E. 8. 7. The standard-bearer of Soluthurn inclines towards our right hand, 
but looks the opposite way. The subject on the small square of the banner It a 
soldier adoring an apparition of our Lord. The rest of the banner is divided 
transversely into two parts, representing the gules and azure divisions of the arms 
of the canton. Below the right arm of the soldier is the word SOLOTUR in 
Roman capitals white on a black ground. 

These cuts do not bear any mark nor cipher of designer or engraver ; but aa 
Passavant observes 

" II soil indubitable qu'elles appartiennent a Urse Graf et qu'elles soient 
traitees de mume maniere quo la famille du satyre (No. 1 16), c'est-a-dire que la 
fond soit noir et les contours et les lumieres en blanc. 1 ' 

The original engravings have been executed on wood blocks, the forms and 
lights being intagliate work, or work en taille -douce. The blocks were afterwards 
inked on the surfaces only, and the impressions from them worked off with the 
typographic press. 

The present impressions were printed probably half a century after the blocks 
had been engraved. On E. 8. 1. and 2. is the watermark of a bull's head and 
stalk. 

[7i x 4f in> ] [Uncoloured.] 

E. 9 . 
A STANDARD-BEARER. 

EARLY PART OF THE SIXTEENTH CENTURY. 
SWITZERLAND. 

N this cut the figure of a standard -bearer appears in the mass as black 
on a white ground. The contour lines, however, and the lights, n 
theless are white. The original block was, in fact, engraved exactly 
after the manner of the blocks of the prints just described (E. 8.); 
but this having been effected, the background was lowered or cut away, so that it 
mii'lit not receive the ink in printing, and hence in the impression it came off 
white. 

The soldier advances towards the spectator's right hand; he holds aloft a small 
banner in his right hand. Tart only of this banner is to be seen; on the lower 
portion of it is tlie mark of a \V- Not any date is affixed. A black border 
line OIK -IOM < (lie figure. 

The present ent must surely be the print by Urse Graf. iiie:iti..ni-d by Pas.ia- 
vnnt (vol. iii. p. 430, n. 131), notwithstanding some discrepancies between the 
nt print and his description 

" 131. Un pttrtf-i'ti-iiiliiril. 

"II s'avanee vers la droite, coillc d'une burette rirheinent < MX. <lc* plumes 




324 



EXCEPTIONAL PROCESSES. 



d'autruche et c'leve' de droite a gauche un petit e"tendard dont on ne voit qu'une 

par-tie marquee du millesime 1527. Sans monogramme. La figure sur fond blanc 
eat noire avec les contours et les lumicres en cieux." 

[8 X 4\ in.] [Uncoloured.] 




E. 10 (i and 2). 
A SEPULCHRAL BRASS TABLET. 

FIRST DECADE OF THE SIXTEENTH CENTURY. 
GERMANY. 

HE following two reduced photographic copies of a sepulchral brass 
are here noticed, on account of the marked illustration they afford 
of the different appearances which impressions from one and the same 
engraved plate would present when the latter has been inked and 
printed from in opposite methods, or in what may be termed positive and negative 
manners. Here, of course, the photographic process has been made to produce a 
similar effect, and which as presented to us may render the previously described 
examples and the comments thereon more comprehensible to the reader. 

The original brass or latten (messingcn) plate is a sepulchral terral tablet over 
the grave of the Duchess Sidonia (or Zedena), consort of Duke Albert of Saxony, 
daughter of King George Podiebrad of Bohemia, ancestress of the Royal House of 
Saxony. 

This brass lies in the Cathedral of Meissen in the chapel founded by the 
Elector Friedrich the Brave. It bears the date 1570 as that of the year in which 
the Duchess died. The design of the work has been attributed to Albert Diirer. 
The present photographic copies are a fifteenth of the size of the original metal 
plate. Accompanying them is a small tract (E. 1O. 3.), having the title " Die 
mittelalterlichen gravirten niessingenen Grabplatten insbesondere in den Domen 
zu Meissen und Freiberg. Von Heinrich Gerlach. Freiberg." No date, but circa 
1867. 

A prospectus (E. 1O. 4.), which is also associated with them, has the title, 
" Photographien von Original- A bdriicken mittelalterlicher gravirter messingeuer 
Grabplatten in 1 5 facher Verkleinerung. Hefausgegeben von Heinrich Gerlach. 
Freiberg in Sachsen, 1867." 

In these works some interesting information is given of several important 
sepulchral brasses and their dates. From E. 1O. 3. the following is extracted 

" In the whole of the present latten sepulchral tablets the forms are repre- 
sented by contour and shadow lines, engraved in intaglio on the smooth surface, after 
the manner of copperplate engraving. A plate thus engraved might consequently 
be compared to a large copperplate engraving, and must have presented a very 
fine appearance, since the engraved intagliate work was afterwards filled up with a 
black asphaltic substance, while the general surface of the plate was brightly 
polished. 

44 The inscriptions on many of these plates, however, have been produced in 
an opposite manner, since the surrounding metal or ground of the letters of in- 
scription lias been deeply cut away, so that the letters are in relief, or are r.iisnl 
as in a wo<..| ii-_'i-a\ iiiL r . This mode of representation, as one opposed to that of 
the intagliate engraving above described, may be legitimately termed ' Metall- 
tchnitt: (P. 5.) 




A SEPULCHRAL BRASS. 325 

" The plates here enumerated [i.e. the Meissen brasses, of which tin- Sidonia 
plate is one] engraved in the manner of the Freiberg sepulchral tablets, with two 
exceptions, are nevertheless distinguished in their technic by the circumstance that 
the engraved or intagliate lines do not appear to pass with sharp edges, but with 
rounded ones, into the flat surface of the plate, as for example, the xylographer 
endeavours to accomplish in delicately gradated spots. Two of these plates 
exhibit also a transition to relief work, though in a very superficial manner." 
(P. 8.) 

[ 6 ir x 3| '] [Uncoloured.] 

E. n. 
A CRUCIFIXION. 

FIFTEENTH CENTURY. 
GERMANY. 

'ITirER a photograph from a "rubbing" or an impression by me- 
chanical printing from a lithographic stone which had received a 
photograph on its surface. That the print is not a simple rubbing is 
evident from its verso. 
The original engraving must have been on a metal plate. The subject is the 
Crucifixion, the general design of which is contained within an ornamental frame- 
work or border, having symbols of the Evangelists at the top and bottom, and 
figures of bishops at the sides. The latter were intended, perhaps, for the four 
Fathers of the Latin Church, though one, St. Jerome, was not a bishop. 

The forms come truly black off a white ground, yet certain details appear to 
come off white from a black ground, in consequence of the smallness of the super- 
ficial area of the true ground which is present as sharp lines only, and as if cutting 
out the figures. 

The inscriptions though obscure are clearly not in reverse, but read right, and 
the Blessed Virgin is on the right hand side of the cross. 

[ 1 1 f x 9f in.] [Uncoloured.] 



E. 12. 

ADAM AND EVE EATING THE 
FORBIDDEN FRUIT. 

FIRST HALF OF THE SIXTEENTH CENTURY. 
GERMANY. 

HIS print is apparently an impression from an etched iron plate, the 
work of Hans Burgmair the younger. The technic has been so 
managed that some of the forms appear to rmin- white off a black 
ground, and others black from a white one. The dotted >-riMr cha- 
,,f tin- l.arlvirruund was produced probably by stoppini' <-i:t the \\liite 
pmielations with some laity matter before tlu> mordant wan all. v upon 

the plate. 




326 EXCEPTIONAL PROCESSES. 

The subject is treated in a somewhat peculiar manner. Adam and Eve are 
seated opposite each other on the stumps of large trees. Each holds an apple in 
the hr.nd, which they seem conversing about before partaking of it. Betwoi-n 
them is the fruit tree, around the stem of which is coiled the serpent with a 
human face. The design is included within a narrow ornamental border. 

[4|- X 6| in.] [Uncoloured.] 

The following four prints have a very peculiar appearance. This arises from 
the circumstance that the engraved intagliate parts of the original metals repre- 
senting the lights, work off black in impressions when such plates are inked and 
printed from in the copper-plate manner. 

It should be remarked in the lir.-t place that from the inscriptions being in 
reverse, and certain right hand actions being performed with the left hands, it is 
clear that the original metal plates were simply ornamental or pictorial ones, and 
were not intended to be printed from. In the engraving of these ornamental plates 
the lights were produced by working over the metal at the proper places a series 
of small conical depressions or punctations, the polished sides of which would reflect 
the light brilliantly, if the angle of incidence of the illuminating rays was properly 
managed relatively to the point from which the spectator was to view them. 

The flat surface or ground of the metal which was unworked on would remain 
under such circumstances non-reflecting or dark. Now if such a plate be taken, 
and ink be forced into the depressions, and the surface of the plate be afterwards 
cleaned, such plate being printed from would yield an impression in which the lights 
of the original design would be the darks of the impressions, and the darks of the 
former would be the lights of the latter. To obtain an impression from one of 
these plates, which should present much the like effect as produced by the plate 
itself, the inking if we may so speak of the plate should be performed with a 
white or light colour, and the plate then worked ofF on paper of a dark ground. Or 
the plate might be inked and printed in the typographic manner, care being taken 
that the ink did not enter the engraved lines. 



E. 13. 
THE ANGELIC SALUTATION. 

SECOND HALF OF THE FIFTEENTH CENTURY. 

ITALY. 

MODERN impression from an ornamental metal plate, engraved in the 
punctiform manner. Everything being in reverse indicates that the 
original engraved metal was not intended to be printed from. This 
curious example is noticed by Zani, " Enciclopedia Metodica," vol. xvi. 
279; Cicognara, " Meraorie Spettanti, etc.," p. 93; Zanetti, "Le Premier 
Siecle de la Calcographie," p. 142 ; Passavant, " Peintre-Graveur," voL i. p. 357- 
The following account is taken from Zanetti, nt supra 

" ' The Annunciation,' by Buonincontro da Reggio. Not anything is known of 
this master except that he was a goldsmith, a native of Reggio, a small town in 
the Duchy of Modena, and flourished during the second half of the XVth century. 
Zani, when recording his name in the catalogue forming the first part of his 
' Enciclopedia Metodica,' promises to allndi- t<> him again in the second part of tliat 




LIGHTS BECOME DARKS. 327 

work, under the article, ' Annunciation of the Virgin ;' but this section has not yet 
been published. 1 

" Of the works of Buonincontro we possess the present example only, and 
which, even as it seems, was not intended to appear in the form of an impression. 

" The angel kneels on the right ; is winged, has the head encircled with an 
aureole, a lily in the right hand, and a banderole in the left, on which may be read 
the words in reverse, in semi-Gothic characters ' AVK . GRATIA . IM.I.N \ . DOMINUS . 
TECUM.' The Virgin is kneeling, also, on the left ; the head is veiled and orna- 
mented with an aureole ; the hands are joined, and the body is encircled by rays. 
Before her is a table, covered over with a large embroidered cloth, on which is a 
book. Above, in the centre, is God the Father in half figure, as an aged and 
bearded man, with a large aureole. Ten cherubim surround him. A ray of stars, 
or of small sparks, emerges from the middle of the aureole, arrives at the ear of 
the Virgin, near which may be seen the Holy Spirit in the form of a dove. On the 
side of the Virgin is a bed ; by that of the angel are two trees ; and the background 
is studded with stars. In the foreground is a row of plants in flower, and in the 
left hand corner a rabbit erect on his hind limbs. 2 This design is included within 
two pillars or columns, ornamented with foliage interlaced with bands. On the 
capitals of these columns are two winged angels, who raise two curtains. The 
lower part where the columns rest, and which have for their bases two other 
capitals reversed, represents an uneven foreground. Above may be read the 
inscription, ' BONIMCONTKVS DE BEGIO FECIT,' the letters being in reverse. 

" Tiraboschi was the first to allude to this print, in the sixth volume of his 
'Biblioteca Modenese,' p. 5 21 Zani mentions it only ; Bartsch and Ottley were 
ignorant of it. Cicognara, in his ' Memoires sur la Calcographie,' p. 94, inserted 
a letter of Mons. Charles Malmusi, director of the Modena Museum, giving a de- 
scription of the print in question. 

" The latter is punctated or dotted, after the method termed Opus Mallei, of 
which we shall see other examples among the works of Julio Campagnola. The 
gradations of shade and of light are indicated by the density and contiguoumess, 
more or less considerable, of the punctations. But the peculiarity which specially 
distinguishes this print is the circumstance that, instead of the shadows appearing 
dark, it is the lights which are punctated, and in such manner that to produce the 
usual effect in an impression it would be requisite to print off the plate in white on 
a dark paper. This peculiarity is the more striking since the contours of parts 
which should be in shadow are entirely wanting; by this a very disagreeable effect 
is produced, particularly in the case of the hands and the faces of the figures. 

" The plate from which the present impression was taken was of laittm, and 
belonged to the late Abbe" Bianconi, secretary to the Academy of Fine Arts at 
Milan. The mechanism of the engraving, and the reversed state of the letters of 
the inscriptions, appear to indicate that the plate was not intended to be printed 
from, but only to be gilt or filled with some whitish substance throughout the 
entire punctated surface. This hypothesis assumes more probability on observing 
that a silver hook was soldered to the upper part of the plate, which latter had also 
a staple at the lower portion, by which u lamp might be affixed. In fact, it was 
found in a monastery, where for several centuries probably it was used in Srrvior, 
and from whence it was not removed until the beginning of the present century. 
Opportunity was then taken to work off a small number of impressions, of which the 
example we are now describing was one, and which is perfectly fresh and well 
conserved." (Op. cit. p. 142.) 

[13} X 12jin.] [Uncclourcd.] 

1 Not any further notice was acconlol t<> tliN print 1-y Zani that we en 
1 , the rabbit and hare as emblems see Cahirr. >(,. cit. v. I. i p. 46. 



328 



EXCEPTIONAL PROCESSES. 




E. 14. 
CHARLES THE FIFTH. 

SIXTEENTH CENTURY. 
GERMANY. 

MEDALLION portrait of the illustrious Charles V., Emperor of 
Germany and King of Spain, born at Ghent in 1 500, and dying at the 
Monastery of St. Just in Estremadura, in the year 1 558. 

The portrait is nearly a half-figure directed towards our left. 
The Emperor is bareheaded, but has a wreath of laurel leaves around the head. 
He is clad in armour, the breast plate being ornamented in arabesque. Around 
the neck is the ribbon and onk-r of the Golden Fleece. A scarf crosses the 
breast. The Emperor bears erect a double-edged straight sword in the left hand, 
and rests the right hand on the top of an imperial orb. The portrait is included 
within a circular ornamental border. Across the medallion at the upper part, on 
a level with the nose and ear of the figure, is the inscription 

CAROLVS V. IMPER 

in reverse. 

In the impression before us, the lights of the original engraved metal plate have 
become darks, while the shadow gradations are lights in proportion. The actions 
it should be noted are in reverse ; the pose is to the left, the sword is held in 
the left hand, and the inscription above is in reverse. The technic is after the 
maniere pointillte, even the lines of the armour are only apparently continuous, as 
an examination of them with a lens will show. 

The paper is old book paper having a bull's head, stalk and star for water- 
mark. 

The medallion was evidently engraved as an ornamental plate only, and was 
not intended to be printed from. 

[Diameter of circle 5fin.] [Uncoloured.] 



E. 15. 
A DUKE OF SAXONY. 

SECOND HALF OF THE SIXTEENTH CENTURY. 
GERMANY. 

PORTRAIT of John Frederic, Duke of Saxony. 

The figure is scarcely more than a bust, in action directed towards 
the left, the arms being raised and placed on a table in front of the 
figure. A half open book lies between the hands on the table. The 
Duke wears a small flat cap and a rich brocaded surcoat, over which is a broad 
fur collar. Narrow ruffles encircle the wrists. On the background above the 
right shoulder of the Duke is a shield with shieM of pretence, whereon are 
blazoned the arms of Saxony, &c. 




LIOHT8 BECOME DARKS. 329 

Above the Duke's head are three lines of inscription, the letters being small 
Roman capitals in reverse, viz. 

'Dl.il OEBECHTE MU8 VII. LEIDEN. Alll.it DEB II Men 
I! I l.r I IBM AV8 DEM \ll.l.v 

PSAX: 34." 

Below the figure on a broad margin are five lines of inscription to the follow- 
ing effect, in small somewhat ornamental Gothic characters in reverse 



,D?err 3!oban0JFriBericb fyertjoc 
Sacbocn unU ceborncr urfur0t HanDecratoe in Diitinocn unH itlarcoratir ?u 
iot um >onabnrt)0 Ben 5 tag Be0 i-Bertjcn in Hem 1554 ifcare 511 CCltpmat 
in ott ent0cblaft." 



On the background above the left shoulder of the figure is the date 1555 in 
reverse ; below this are the capital letters i K in reverse. 

The reversed position of the letters of inscription and the character of the 
technic indisputably show that the original metal plate was an ornamental or 
pictorial one, and not one engraved for the purpose of being printed from. 

The engraving was effected a la maniere pointillee, the punctations being very 
dense and contiguous in the higher lights, which circumstances have rendered the 
latter very dark in the impression on paper. The letters of the inscriptions even 
have been engraved mainly in the same manner, though here and there, perhaps, 
a line may be discovered. 

[8f X 6 in.] [Uncoloured.] 

E. 1 6. 
PORTRAIT OF LUTHER. 

SECOND HALF OF THE SIXTEENTH CENTURY. 
GERMANY. 

BUST portrait of Martin Luther, born at Eisleben in 1483, and 

dying in 1546. 

The figure is turned towards our right hand, the arms being 

raised and placed on a narrow table or ledge in front of the figure. 
An open book lies between the hands. Luther is bareheaded and wears a preacher's 
gown. On the background over the right shoulder of the figure is a shield sus- 
pended by an ornamental hanging. On this shield is a rose within a circle, in the 
middle of the rose is a heart, and within the heart is across. On the opposite side, 
over the left shoulder, is a similar shield hanging, the shield, however, bearing an 
" Agnus Dei." 

Between the ornamental suspensories of the shields are the following words in 
two lines, in small Roman capitals 




EBAM VIVTJ8 
1IOBIE.NS EBO MOBS TUA PAPA. 



Below the shield on our left hand is the date 1 550, and under this are the 
capitals i .. The letters and numbers are all in reverse. 

On a broad margin below the narrow table or ledge on which the arms of the 
fiL'iiiv and the book rest is the following inscription in small Gothic characters, in 
five lines and all in reverse 



Cbricti unotre tirben UjCKRf5 ceburt fHOjctot ibar urn rtiii tao Bro 



330 



EXCEPTIONAL PEOCESSES. 



iet Uet fcell 
al0 er Itiii alt 



Doctor i&artinue Cutset 
ju <!Ei00Iebenn in <Sott 



cpn Prophet Heo 
[tc.] 



The technic of the original engraved plate from which this impression was 
taken was like that of the last described print, and the plate was similarly an 
ornamental or pictorial one, and not intended to be printed from. 

On the present example, as in the previous one (E. 15), are the small capitals 
i K below the date. These letters it is probable refer to Hans Kellertaler or 
Kellardarler, a goldsmith engraver at Dresden, working during the second half of 
the sixteenth century. 

On the print of the Emperor Charles V. (E. 14), these letters are absent, 
but it is most likely that the original work was produced by the same master. 

Concerning the Kellertalers, goldsmith engravers of Dresden, Nagler's " Mono- 
grammisten," vol. iii. p. 443, No. 1176, may be consulted. 

[6 1- x 4$ in.] [Uncoloured.] 




APPENDIX. 



APPENDIX. 




HE series of prints from the copper plates of the Corona 
Lucis of Aix-la-Chapelle, described on pages 1 5 to 30 in- 
clusive, was stated (p. 24 and note 2) to form " a sequence 
of impressions from the oldest engraved copper plates which 
have as yet been printed from, with one limited exception." 
This exception has now to be described. The specimens 
illustrating it came before notice only after the MS. of 
the foregoing pages was in the hands of the printer too 
late, in tact, to permit of allusion to them except in the form of the note above 
referred to. 

The date of the engraved copper plates of Aix-la-Chapelle may be placed at 
about the beginning of the latter third of the twelfth century. The impressions 
now before us have been printed from metal plates which bear a date coming 
within the first thud of the same century. The latter plates formed the 
front and back of the upper part of a processional Cross, which in its foundation 
was of wood, probably. Over the front and back of the upper or true cross part, 
these metal plates were fastened ; holes once admitting the screws being now 
seen as white circular spots on the edges of the impressions, particularly in the 
impression from the plate which overlaid the back of the true cross portion. 




APPENDIX i, a. 

UK impression of the upright limb of the Cross measures I3f in. in 
height, by if in. in width : the transverse member is 9 in. long by 1 J in. 
broad. These dimensions are added to slightly in tin; impression from 
tip- backplate by an edging of the metal which was turned over and 
fastened to the slightly bevelled edge of the foundation material of the Crow 
whatever that may have been. At the bottom of the upright limb both of the 
back and front plate projects a tang three inches long, which may have been fixed 
externally around the top of the supporting staff of the Cross. 

Tin- impression (App. 1, a) from the front plate of the Cross presents the 
following appearances. At that part of the upright limb where the cruss- 
U'uni traverse* it Christ i* reprrM-nted, seated on a bow within an elliptic aureole 
3^ in. hii_'h, liv 2 1 \ in. bmad ut the \vido-t part. A cruciform nimbus is over 
' ur Lord's head; lie raises the left hund in benediction, according to the Greek 



334 APPENDIX. 

manner, and supports with the other hand a closed book on His right knee. Our 
Lord is draped in a tunic girded at the waist. Above His left shoulder is the 
Greek A and over the right one the u. Below the figure of Christ is an effigy of 
the Evangelist St. Matthew. He appears as an angel youth supporting a book in 
the left hand and raising the right one until it touches with the tips of the fingers 
the lower acuminated end of the elliptic aureole of the Saviour. The head with 
nimbus is thrown back as the Evangelist looks intently up at Christ. St. Matthew 
is draped in a close-fitting tunic, girded at the waist, and stands with bare feet on 
the upper part of a circle or sphere, which is cut off" horizontally above the lower 
end of the upright limb of the Cross. A space is thus formed between the circle 
and the end of the Cross on which are represented two short staves flory en saltire. 

In the triangular space at the top between the staves is part of a date (in 
reverse characters) viz. : M * c ; in the triangle on our right hand is the second 
part, viz., x x, and on the left is the remaining portion, viz., viiii., i.e. = 1 1 29. 
At the lowermost portion are the words " Ese. Aprl " i.e. mensse Aprilis. 

On the tang below, at the end of the Cross, is the following inscription in con- 
tracted forms, in Roman capitals 

' VOS . QUI ME V1DKTIS . KOGATE DEUM . PRO EO . QUI MB FECIT." 

Above the figure of the Saviour is the creature-symbol of St. John. The 
eagle's head, with nimbus, is directed upwards towards heaven, to receive with 
opened beak the divine afflatus or inspiration. In the claws below is a closed 
book. 

On the transverse limb of the Cross are the creature-symbols of St. Mark and 
St. Luke. Along the edges of the limbs of the Cross runs a " keyfret " border, 
rather more than the eighth of an inch wide. 

The figures and accessory forms are in outline only, the masses coming off 
white from a dark ground. The general ground is rendered dark in tone by au 
ingrain of minute circles all over the face of the original metal. 



APPENDIX i, b. 

'HIS the impression from the verto plate of the Cross presents a rich 
effect from the general work, though the human figures on it are of 
very mediocre character. 

On the surface of the limbs of the primary or actual Cross a second 
and much smaller Cross is represented lying. The members of this secondary cross 
are |ths of an inch wide. The upright limb stops at nearly 3 inches from the top of 
the primary Cross, and at 2 inches from the bottom of it. The transverse limb is 
short of the primary Cross at each end I|ths of an inch. In the spaces thus left 
between the under and overlying Crosses are figures. Above is the figure of an 
angel, holding in the left hand a dependent thurible by the chain, and in the rii-lit 
a crosslet fitchy. At the bottom is an undraped male figure, seated, raising his 
hands, and looking upwards. By his right knee are the letters ADA in reverse, 
which imply probably ADAM. Within the space at the end of the transverse limb 
on our right is a bust of the Virgin ; in the space on our left is a bust of 
St. John. 

The figures and forms are, as in those of the other impression, in outline only, 
and come off light from a darkened ground, the latter being deepened in tone by 
ingrained circles. 

The secondary Cross is defined by a narrow double-lined edging. Over the 
AM of the limbs runs a series of large eight-rayed floral ornaments, there being 
eight on the upright face, and six on the transverse one. 




APPENDIX. 335 

Much of the richness of effect which appears in this impression (App. 1 , b) is 
due to the fond sale and burr resulting from the oxidation which the metal 
edging of fixation has undergone. This edging, with ite soft, dark, velvety burr, 
throws up the engraved Cross in an artistic manner. 

[With tang 17x9 in.] [Uncoloured.] 



APPENDIX 2. 

(Antea, page 42, A 3.) 

!N the sale catalogue of the collection of engravings belonging to 
Franz Josef Grafen von Enzenberg, disposed of at Vienna in March, 
1879, the following item occurred 

" No. 246. WOLFGANG ACRIFABER, 1477. Mary with the Child 
adored by the Abbot Ludwig. Bartsch, x.p. 16.13. -A- very fine and extremely 
rare impression from the original plate, with the decorative passe-partout" 

(The italics are our own.) We regret not having had an opportunity of exam- 
ining this particular example. 




FINI9. 




INDEX. 



INDEX TO PROPER NAMES. 




IBBOT LUDWIG, 42, 
43. 

Abraham, 211. 

Adam, 334. 

Adam and Eve, 325. 

Agatha, St., 1 29. 
Aja, 105- 

Alfonso, Duke, 130. 
Alvin, 51, 198. 
Ames, 183. 
Andrew, St, 96. 
Angelico, 5, 6. 
Angelo, Michael, 6. 
Anna, 92. 

Anthony, St., 97, 133,259, 277. 
Apollonia, St., 159. 
A-tlc, 183. 

-burg, 5. 
Augustine, St., l6l. 

Baldus, 84. 

Baptist, John the, 252, 253, 254. 

Hnrbara, St., 11 5, 11 6, 131, 135, 158, 

279. 

Barbarossa, Frederick, 24. 
Mcatrix, Empress, 26. 
Hi aiiinont, Sir George, 206. 
Bf'-hrm-ted, 2O2. 
Becker, 78, 302. 

t. St., 32O, 321. 

174. 



l!rrnlia!-'l, M., of Clairvatix, 99, 26O. 
lifi-nliardiim, St., of Siena, 98. 
BeriihardiiiiiK Milnpt, 99. 
Hi'them.sti'd, 2O2, 205. 
" H.-tli>." 201, 205. 

iila<r, 198. 

Biancdiii, Alibi', 327. 
Birkcnstnck, 195. 
Bocbolt, Fran/ von, 9. 
I'.IM k. DI-. Fr . 1 <;. 16, 130. 



Botticelli, 6. 

Bradshaw, 21 8. 

Brentano, Madame, 195. 

Bridget, St., of Sweden, 280. 

Brigida, St., of Kildare, 1 59. 

Brigitta, St., 196. 

Britton, 83. 

Brulliot, 318. 

Biichling, 308. 

Buonincontro da Rcggio, 326, 327. 

Burgmair, 325. 

Cahier, the Abb.', 8. 

Caiaphas, 232. 

Campagnola, 327. 

Carpenter, 177, 180, 242. 

Caraglio, 242. 

Catherine, St., of Alexandria, 117, 1 18, 

119, 120, 131, 136, 158, 28l, 

282. 

Cebes, 306-308. 
Charlemagne, 26. 
Charles V., 328. 
Chatto, 1 96, 203, 204. 
Christ, 212. 

Christopher, St., 1OO, 1O1, 1O2, 261. 
Cliristus, Petrus, 193. 
Cicognara, 326. 
Cimalme, 6. 
Clark, 145. 
Cleodolinda, 105, 263. 
Cracherode, 182. 
Cranach, Lukaa, 317. 
Crapelet, 195. 

Dante, 6. 
Davidson, Dr., 58. 
Davis, 148. 
Da Vinoi, 6. 

\>r linmii'. M. Aug., 49. 
Di- Fl.Miry, Knliaiilt, 15^. 
di-. Henri. 50, 72. 



340 



INDEX TO 



Delaborde, Leon, 195, 203, 204, 206, 

207. 

Derschau, 78, 302. 

Dibdin,Dr.,7l,78,l64, 174, 191,198. 
Didot, F., 54. 
Didron, 8, 19, 26, 213. 
Disinas, 82. 
Docen, 209. 

44 Doctor Mellifluus," 261. 
Domenichino, 130. 
Dominic, St., 5, 285. 
Dorothea, St., 121, 1 58. 
Dorothe'e, Sainte, 321. 
Duke of Saxony, 328. 
Dupre, Jean, 54, 55. 
Durer, Albert, 9, 254, 297, 321, 324. 
Duvet, 130. 

Eastlake, Lady, 8, 1 46. 

Eckert de Homberch, 192. 

Elizabeth, St.. 247. 

Ellis, F. S., 96. 

Erasmus, St., 1 33. 

Ernst, 26. 

Eugenius, Fope (1440), 147. 

Eyck, Van, 5. 

Falkenstein, 174. 

Ferrari, Gaudenzio, 80. 

Fleury, Rohault de, 8. 

Florentius, 320. 

Florian, St., 263. 

Foillian, St., church of, 29. 

Francia, 6. 

Francis, St, of Assisi, 5, 103, 104, 212. 

Frederic Duke of Saxony, 328. 

Fridolin, St., 322. 

Frisi, 8l. 

Gaignat, 177. 

Gamundia, Johannes de, 302. 

Gaudenzio Ferrari, 80. 

Gayler ron Keysersberg, 190. 

Geffcken, Johannes, 58, 294, 296. 

George, St, of Cappadocia, 1 05, 263. 

George, St. (and the Dragon), 206. 

George II I., King, 177. 

Gerlach, II., 324. 

Gerrais, St., 170. 

Gesmas, 82. 

Giotto, 8, 80. 

Graesse, 319,321. 

Graf Urse, 323. 

GraTes, R. E., vii. 

Gregory the Great, 5. 

189. 



Grosse, 308. 
Griininger, 164, 190. 
Guido, 128. 

Hans Burgmair, 325. 

Hans Hauser, 310. 

Hans Kellertaler, 330. 

Hans Schliifer, 296. 

Hans Schawr, 296. 

Hector Schiifler, 237. 

Heinecken, 174. 

Heller, 168, 173. 

Henry II., Emperor, 310. 

Herodias, 253. 

Hertwig, Abbot, 25. 

Hezilo, Bishop, 25. 

Hofmann, 319, 321. 

Holtrop, 107. 

Homberch, Henri Eckert de, 192. 

Hubert, St., 274. 

Hupfuff, 189, 190. 

Husenbeth, 8. 

1 1 nth, Henry, Esq., 96, 1O6. 

Hymans,48, 49, 319, 321. 

I.H.S., 98. 

I. D., the Master, 193. 



Jackson (Chatto), 1 74. 
James, St., the Greater, 255. 
Jameson, Mrs. Anna, vi., 8, 127, 199. 
Jerome, St., 52, HO, 160, 268-273, 

325. 

Jerram, C. S., 308. 
Jesus, 211, 212. 
Joachim, 249. 
Joanna, 222. 

Johannes de Gamundia, 302. 
John, St., 23 1 . 

John, St., Baptist, 252, 253, 254. 
Joseph, St., 247. 
Josi, 177. 

Judas Iftcariot, 32, 41. 
Judams Philo, 301. 
Justina, St., of Padua, 1 29. 
of Antioch, 1 29. 

Kandel David, 308. 
Kellertaler, Hans, 330. 
Kolmar, 5- 

Konrad von Wiirzburg, 159. 
Kunigunda, 310. 

Lacroix, 197. 
Laurence, St., ill. 



PROPER NAMES. 



34' 



Lazarus, 213. 

L Cz., the Master of 1492, 130. 

Leo, the Franciscan, 104. 

Leyden, Lukas Van, 9. 

Lilly, 218. 

Lippi, Filippino, 6. 

London, 2O2. 

Longinus, 79*221. 

Longperier, 49. 

Liicke, Dr., 128. 

Ludwig, Abbot, 42, 43, 335. 

Luther, Martin, 317, 329. 

Lysons, 206. 

Maberly, Reverend Joseph, 127. 

Macharius, St., 1 33. 

Macheronta, 253. 

Malmusi, 327. 

Margaret, St., 136, 159. 

Martin, St., 112, 1 34. 

Martin Luther, 317, 329. 

Mary of Egypt, 283. 

Mary Magdalene, 228. 

Masaccio, 283. 

Master I D, 193. 

Master L Cz, 1 30. 

Master of 1457, 30. 

Master of 1464, 9. 

Master of 1466, 9, 148, 319. 

Master T K, 317. 

Master W, 323- 

Maugerad, 99. 

Maxci) t in-, 1 1 8. 

Maximin, 1 1 8. 

May, 198. 

Mechenen, Israel Van, 8 1 . 

Meister Stephan, 1 70. 

Meister Wilhelm of Cologne, 1 60, 

Mclancthon, 317. 

Michael Angelo, 6. 

Michael, Archangel, 90. 

Millington, 8. 

Molina, 52. 

M"ses, 209. 

Muller, Dr. Conrad, 308. 

Nagler, 224. 

Nicholas, St., 134. 

Nicholas, St., of Tolentino, 161. 

Nicol, 83, 84. 

Niirnhcrg, 5. 

Oberspachius, 225. 
Oroagna, 6, 8. 

l >-. IVtrr Van, iqi. 
Ottlev. \Y V.. 174. 



Passavant, 48, 206, 207, 313, 321. 

Pater, 5. 

Paul, St., 255. 

Payne (and Foss), 1 8 1 . 

Pearsall, R. L., 1 24. 

Pelbart de Themes war, 319, 320, 321. 

Peter, St., Martyr, 275, 314. 

Petrarch, 6. 

Pfister, 68. 

Philo, Judteus, 301. 

Piper, 8. 

Pleban us, Johannes, 168. 

Quentel, 147. 
Quix, 26. 

Raphael, 6. 

Regiomontanus, Johannes, 304. 

Regensburg, 254. 

Reid, Andrew, 189. 

Reid, G. W., 130, 205. 

Renouvier, 196. 

Riker, 29. 

Roch, St., 113, 135, 257. 

Roger van der Weyden, 1 93, 205. 

Rohault de Fleury, 1 54. 

Roland, 196. 

Rosalia, St., of Sicily, 284. 

Rothschild, Baron Edmond de, 84, 97. 

Rubens, 257. 

Ruelens, l 70. 

Salome, 253. 
Sarto, Andrea del, 297. 
Schawr, Hans, 296. 
Schliifer, Hans, 296. 
Schnaase, 25. 
170. Schofler, Hector, 237. 

Schongauer, Martin, 9, 80, 205. 
Sebastian, St., 1 14, 135, 163, 235, 259, 

275. 

Selene, 105, 263. 
Sidonia, Duchess, 324. 
Siena, Master of, 7. 

Bernhardino of, 98. 
Simeon, 92. 
Smith, Messrs., 314. 
Snellacrt, 192. 
Solon, 301. 

Sotheby, 174, 182, 183. 
BpOMMT, Karl, 183, 195. 
Stcphaii. Mei-ter, 17O. . 
Stephens, 29. 
Strphaton, 82. 
Stephen-. F. ;., 214 
Stevens, l8l. 
/. -2 



342 INDEX TO PROPER NAMES. 

Stb'ger, 70, 72. Vernon, Lord, 181. 

Symonds, 7. Victor Hieronymus, 307. 

Vinci, Leonardo da, 6, 242. 

Von Enzenberg, Grafen, 335. 

Von Murr, 195. 

Vostre, Simon, 54, 55. 



T, Master, 276, 277. 

T K, Master, 317. 

TT (watermark), 194. 

Themeswar, Pelbartde, 319, 320, 321. 

Tbeophilus, Presbyter, 5 1 . 

0toc, 277. 

Thompson, Edward Maundc, vii., 2 1 8. 

Thompson, Major, 1 83. 

Thompson, Sir Peter, 183. 

Timperly, 182. 

Tiraboschi, 327. 

Titian, 5. 

Tory, Geofroy, $4, 55- 

Twining, Miss, 8, 154, 22O. 

Tyrwhitt, Rev. St. John, 8, 16. 

Ulm, 5. 

Ulrich, St., 198. 
Urse, Graf, 323. 
Ursula, St., 159. 

Valdarfer, 189. 
Van Eyck, 5, ?O. 
Van Os, Peter, 191. 
Vanpraet, loo. 
Verard, Antoine, 54- 



W, the Master, 323. 

Waagen, 41, 84, 241, 274. 

Weigel, 43,64, 71, 174. 

Wessely, 8. 

Westminster, 205. 

Wethamstede, 2O2, 205. 

Weyden, Rogier van der, 8 1, 193. 

Wibert, 29. 

Wilhelm Meister, 41. 

Wilhelm Meister, of Cologne, 160, 170. 

Wilkinson, 147. 

Wilson, l8l. 

Wohlgemuth, 9, 254. 

Wolfgang, St., 278. 

Wolfgangus, aurifaber, 42, 43, 335. 

Y.H.S., 155. 

Zanetti, 326. 
Zani, 326. 

Zeiner, Giinther, 254. 
Zestermann, 64, 1 74. 




INDEX TO SUBJECTS. 




;BBOT, 42. 

Abraham, Sacrifice of, 

211. 
Ackermann, Professor, 

215. 

Acorns, 155. 
Actions in reverse, 1O. 
JEdes Althorpianse, 194. 

mis Dei," 252. 
Aix-la-Chapelle, Corona lucis of, 15, 

333- 

Alcuin, Bible of, 17. 
Alpha, 16. 
Alphabet figured, 9. 
Alphabet in figures, 2OO. 
Althorp St. Christopher, 195. 
Amiens, earrings at, 127. 
Angelic salutation, 17, 238, 316. 
Anna, St. (with Virgin and Child), 

241, 242. 

Anna, St., and Virgin, 249. 
Annunciation, 1 7, 238. 
" Anonymous " prints, 170. 
Anopistographic, 173. 
Antonius Cross, 277. 
Anthony's, St., fire, 277. 
Antichrist, Life of, 184-187. 
" Avriy/'oroc," 1 84. 
Apparition of Christ, 290. 
Appendix, 333. 

" Apocalypse " of Al. Diirer, 9- 
Ajmoalypsis Sancti Johannis, 183. 
Apocalypse, 231. 
Archseologia, 1 24. 
" Arms" of Christ, 152, 215. 
Arrangement of subdivisions, 1 1. 
Ars Moriendi, 9, 169. 



Arsenal, Library of, at Paris, 197. 
Art, Sacred and Legendary, 8. 
Arte Moriendi, Tractatus de, 192. 
L 1 Artiste, 195. 
Artists of Netherlands, 205. 
Assumption of the Blessed Virgin, 94, 

240. 

Assumption of Mary of Egypt, 283. 
Athelstan, Psalter of, 17. 
Athenteum, 235, 278. 
Aurifaber, Wolfgang, 335. 
" Ave Verum," 83. 



O : B*CT/\?S, 217. 

Bamberg, Cathedral of, 310. 

Basle. Collection at, 319. 

Beatitudes, the, 21. 

Bcnedictional of St. Ethelwold, 1 54. 

Bernard, the St., of the Paris Cabinet, 

99- 

Bernardinus, the, of 1474, 49. 
Bible, Mazarine, 79. 
Biblia Paupemm, 9, 169, 173, 180, 

l8l, 182, 183. 

" Biblia Sacra Latina" (1478), 96. 
Bibliotheca Spcnccriana, 1 64, 1 94. 
Bilder-Catechisnius, der, 58, 294, 296. 
Black on white ground, 3 1 4. 
Books of Hours, 52, 53. 
Bottles, Chinese, 147. 
Brasses, sepulchral, 324. 
Brasses at Freitarg, 324. 

at MrN-rn. 324. 
Brussels Print, the, 167. 
Burgundy. School of, 274- 
Ituxhciin St. Christopher, 195. 
Byzantine Style, ^O. 



344 



INDEX TO 



Caiaphas, Christ before, 232. 

Camaldoli, 7. 

Canticum Canticorum, 9, 158. 

Cantons, Swiss, 322. 

Card, Christmas, 147. 

Cards, playing, 1 55. 

Carol, Christmas, 1 8. 

Cebetifl Tabula, 306-308. 

Centurion, the, 79, 80. 

Champ fleury, of Geof. Tory, 55. 

Christ, apparition of, 290. 

" Arms " of, 152, 21 5. 

enthroned, 231. 

as the Gardener, 228. 

before Herod, 148. 

as conqueror over Death, 66. 

on the Cross, 74, 151, 152, 197, 
22O, 221, 222, 223, 224, 225, 
226. 

flagellation of, 149. 

Infant, 146. 

Infant, and Virgin, 156. 

before Caiaphas, 232. 

the piercing of His Chest, 22O. 

stripping of, 1 50. 

treated symbolically, 212. 

washing the feet of Hia disciples, 

313. 

Life of, 238. 

Christian Iconography, 8. 
Christmas card, 147. 

carol, 18. 
Christopher, St., 194. 

Buxheim, 167. 

of 1423, 167, 195. 

the Paris, 195. 

Church, Elizabeth, at Breslan, 1 29. 
Cipher, the Sacred, 98, 155, 235, 

236. 

" Coberger Bible " of 1478, 96. 
Cohort, prostration of, 33- 
Commandments, the Ten, 57, 292. 

trespass of them, 58. 
Composite effects, 317. 
Consanguinity, tree of, 1 36. 
Corona lucis of Aix-la-Chapelle, 1 5, 24, 

333- 

Coronation of the Virgin, 95. 
Creature-symbols, 16. 
Cross and the Blessed Virgin, 223. 

Christ on the, 151, 152,220,221, 
222, 223, 224, 225, 226. 

double, 145. 

patriarchal, 14,>. 

tau, 152, 226, 234, 277. 

AntoninB, 277. 



Cross, Egyptian, 277. 

a processional, 333. 
Crucifixion, 79, 325. 
" Crucifixion of the Mazarine Bible," 

79- 

Crux ansata, 277. 
Cuts, metal, 141-144. 

" Dance of Death " (Liibeck), 1 1 3. 
Darmstadt, 319. 
Death, 237. 

mirror of, 309. 

of the Virgin, 94. 
Decretals of Gratian, 1 36. 
Deutsches Kunstblatt, 207. 
Devil, the, 32. 
Directorium, Pastoral, 296. 
Divisions of Subjects treated of, 1 1 . 
Dominican Saints, 285. 
Dominicans, genealogical tree of, 285. 
Dorothea,.St (Brussels Coll.), 319. 
Douce Collection, 89. 
Dresden Cabinet, 206. 
Duel, a judicial, 1 23. 
Durandus, 297. 
Dutch Print, 301. 

Early plates, 15, 24, 333, 334. 
"Ecce Homo," 85, 86, 215, 216, 217, 

218, 233. 

Effects, composite, 317. 
Egyptians, ancient, 147. 
Eicheln, 155. 

Elizabeth Church, Breslau, 1 29. 
Emblematic figure of the World, 305. 
Emblems of Saints, 8. 
Emperor Henry II., 310. 
Empreinte en Pate, 3 1 3. 
Endcriste, 184. 
Entkrist, 184, 185-190, 289. 
English print ? 242. 
Ethelwold, St., Benedictional of, 1 54. 
Evangelists, symbols of, 16. 
Exceptional processes, 311. 

Fathers, Latin, of the Church, 95. 

Figured alphabet, 9, 200. 

Fire, St. Anthony's, 277. 

Flagellation of Christ, 149. 

Flagellation and Mockery, the, 2 1 8. 

Flemish prints, 132, 158, 163, 180- 
183, 191, 93, 245, 248, 249, 250, 
25, 255, 256, 262, 280, 283. 

Fleur-de-lis, 19. 

Fond sale, 335. 



SUBJECTS. 



345 



Forbidden fruit, eating the, 325. 
Formschneider, 168. 
Francis, St., Order of, 212. 
Freiberg, brasses at, 324. 
French prints, 90, 112, 136, 219. 
Frescoes, 6. 

Gabriel, Anpel, 19. 
Gardener, Christ as, 228. 
Gazette des Beaux-Arts, 73. 
George, St., and Dragon, 263. 
Germanischen Museum, 310. 
Glands, 155- 

Gratian, decretals of, 136. 
Gregory, Mass of St., 106, 108, 109, 
264-268. 

Heart, Sacred, 251. 

" Helgen," 9. 

Hermits, 297. 

Herod, Christ before, 148. 

Hildesheim, 25. 

Holy women lamenting, 38. 

Holzschnitte alter deutscher Meister, 

78, 302. 

Horace, the, of 1498, 164. 
" Hortus Conclusus," 126, 158, 167. 
Hours, books of, 53, 54- 
Human life, ten periods of, 298. 
Hypnerotomachia, 204. 

175, XC, 217. 

Iconography, Christian, 8. 

Image prints, 9. 

Impression in Paste, 313. 

Incarnation of the Word, 127. 

Incoronata (!'), 245. 

Incunabula, special, 13- 

Indulgence, 264, 265, 291. 

Infulae, 1 1 2. 

Inscriptions in reverse, 1O, 327. 

Instruments, &c. f of Passion, 152, 233, 

23725L 

Intercessory, Saints, 256, 258. 
Introduction (General), 5. 

(to " .Manic -ru Criblee,") 47. 

(to Metal Cuts), 141. 

(to Woodruts), 168. 
Italian Print, 326. 

Jen .inc. St., the Lion of, 111. 

-. St.. penitence of, 271, 272. 

. lic;i\ 'iily, 26, 27. 
.!r-iiv, C'i.ni|i:iny of, 98. 
s youthful, 211. 



Jews, 41. 

Judgment, the Last, 229. 



Kalendar, 302-304. 

Kalendar of Regiomontanus, 304. 

k utHTOS niNAS, 306-308. 

Kings, the Three, 1 8. 

Kolloff, 144. 

Kiinigsberg, Kalendar, A.D. 1474, 303. 

" Kunstblatt" Deutsches, 207. 

Kunstblatt, 209. 

Ladye Church at Munich, 278. 
" Large dotted manner," 1 0. 
Last Judgment, 229, 230. 
Latin Fathers of the Church, 95, 325- 
Lazarus, raising of, 213- 
Legends of the Blessed Virgin, litera- 
ture of, 1 28. 
Life of Christ, 238. 
Life, periods of, 298. 
Light as a symbol, 25. 
Lights become darks, 327. 
Ligulae, 112. 
Lily and Virgin, 1 7. 
Limbus, 39- 

Livres d'Heures, 52, 53. 
Loin cloth, Virgin applying, 37. 
Loin cloth and Virgin, 219. 
Longinus, 79, 80. 
Lover, 315. 

Madonna (in Gloria), 91, 239. 

Magi, 18. 

Mallei opus, 327. 

Man, Seven Ages of, 301. 

Maniere Criblee, 1 0. 

Maniere Criblee, prints in the, 47. 

Maniere pointillee, 328. 

Manner, the large dotted, 1O, 47. 

Malines print, 167. 

Maria addolorata, 250. 

Mary by the Cross, 223. 

Mary, Seven Joys of, 71. 

Mass, canon of the, 224. 

Mass of St. Gregory, 106, 264-268. 

Master of 1457, 30. 

Mazarine Bible, 79, 83. 

Meditationes de Turrecremata, 194. 

Meissen, brasses at, 324. 

Metal cuts, 141-144. 

Metall9chnitte,l4l-I44,3 l8 >32>,324- 

Mi<ldle Ages, 4, 8. 

Mirror of Death, 309. 

Min-.-i- of IVnitence, 294. 






INDEX TO 



Monogram, Christian, 1 6. 
Mount, Sermon on, 2 1 . 
Munich, church of our Ladye, 278. 
" Munich Passion," 71. 
Museum, Gurmanischun, 144. 

Nagler's Monogrammisten, 276, 277. 

Nativity, 246. 

Negative and reverse engraving and 

printing, 3 1 3-330. 
Netherlands', artists of, 205. 
Nimbus, 213. 
Notnunft, 123. 
Nothzucht, 123. 

Omega, 16. 

" Opere interrasili," do, 51-52. 
" Opere punctili," de, 52. 
Opus mallei, 327. 

Paris St. Christopher, 1 95. 

Passe-partout, 335. 

" Passio Christi," a, 64. 

" Passio airisti," of Munich, 71. 

"Passion" of 1457, 30. 

Passion in the Maniere Criblce, 64. 

Passion, instruments, &c., of, 152, 233, 

237,251. 

Paste, impression in, 3 1 3- 
Pate, empreinte en, 3 1 3. 
Patrum Vitae, 149. 
Penitence of St. Jerome, 271, 272. 
Penitence, Mirror of, 294. 
Phallic worship, 277. 
Piercing the chest of Christ, 22O. 
Pieta, 227. 
Playing cards, 155. 
Polish print, 307. 
Porta Crucis, church of, 107. 
Prints, from very early plates, 15, 24, 

333, 334- 
Prints from plates of the year 1 1 29, 

335- 
Prints from plates, A.D. 1 165- 1 1 70, 1 5, 

24. 

Print of 1457, 30. 
Print of 1477, 42, 335. 
Prints, " Anonymous," 170. 
Print, the Brussels, 167. 

Bnrgiindian, 274. 

Dutch, 301. 

Kiijrlish? 242. 

Italian, 326. 

M alines, 167. 

Polish, 307. 



Prints, Flemish, 1 32, 1 58, 1 63, 1 80, 1 8 1 , 
182, 183, 191, 193, 220, 245, 
248, 249, 250, 251, 255, 256, 
263, 280, 283. 
Prints of FrankUh Netherlands, 2OO. 

French, 90, 112, 136, 219. 
Prints in the Maniere Criblee, 47. 
Processes, exceptional, 311. 
negative, 313-33- 
reverse, 3 J 3-33- 
Processional cross, 333. 
" Purification," the, 92. 

"Quindecim Signa," 184, 187-189, 
191. 

Rabbit and Hare, 327. 

Renaissance, 4. 

" Reposo," 247. 

Resurrection, 2O. 

Reverse, inscriptions and actions, 1O, 

15, 327- 

engraving and printing, 314-330. 
effects, 314-330. 
Rosary, 291. 

Sacred cipher, 1 55, 235, 236. 
Sacred Heart, 251. 
Saint Jerome, epistles of, 52. 
Saints, Dominican, 285. 

emblems of, 8, 285. 

intercessory, 256, 258. 

various, at St. Ulrich's, Augsburg, 

199, 2OO. 

Salutation, angelic, 17, 125, 238, 316, 
326. 

with attendant unicorn, 125. 
" Salvator Mundi," 89. 
Saxony, Duke of, 328. 

House of, 324. 
Srhatzbehalter," 254. 
Sebaldus, St, crucifix in church of, 76. 
"Scion Wiirt/garten," 189. 
Sepulchral brasses, 324. 
Sonnon on the Mount, 21. 
SITIIIIIIH.'S <le Tliemeswar, 319, 321. 

' of Man, 301. 
Sijjnum tau, 277- 
Solomon, Song of, 1 58. 
Sotheby's " Priucipia," i|iiote<l, 131. 
S|ic.-uliini liumaua- .-alvationis, 193. 
Siaiidiinl-lieaivr, Swiss, 323. 
Stamlanl-lican-rs of Switzerland, 322. 
Sterfboeck, dat, 191. 
Stripping of <'liri>t, 150. 
Srmlv of Ancient Prim- (work on). 195. 



I'liJK CTti. 



Style, Byzantine, 50. 

Gothic, 50. 

of Van Eyck, 5 1 . 
Subjects treated of, 11. 
Swiss Cantons, 322. 
Swiss Standard-bearer, 323. 
Switzerland, Standard-bearers of, 322. 
Symbols, creature, 16. 

of Erangelists, 1 6. 

Tablets, sepulchral, 324. 
Tabula Cebetis, 306-308. 
Taille douce, 318. 

d'epargne, 318. 

Tau cross, 152, 226, 234, 276. 
"Teigdmck," 313, 3 1 5. 
Temperas, 6. 

Ten Commandments, 292. 
Ten periods of human life, 298. 
Thausing, 254, 
The " Dotted Manner," 10. 
0OC, 277. 

Thorns, wreath of, 66. 
Three kings, 18. 
Tonsure monaetique, 314. 

du Clerge seculier, 314. 
" Tree of Consanguinity," 1 36. 
Trinity, the Holy, 2O, 145, 233. 

Italian, 145. 
Turrecremata. Meditationes de, 1 94. 

Ulrich, St., Church of, 198. 

saints at, 199. 
Unicorn as a symbol or emblem, 1 27. 

and the Blessed Virgin, 1 25. 

Venetian painters, 7. 

Virgin, assumption of, 94, 240. 

coronation of, 95, 245. 

death of, 93. 
Virgin and Child, 239, 240, 244. 



Virgin and Child enthroned, 245. 

in glory, 248. 

of 1477, 42. 

by Wolfgang, 42. 
Virgin and Infant Christ, 1 56. 
Virgin with St. Anna, 249. 

and female saints, 158. 

Infant Christ, and St. Anna, 241, 
242. 

and loin cloth, 37, 219. 

at the side of the Cross, 223. 

in sorrow, 250. 

and unicorn, 125, 128. 

legends of, 1 28. 
Vitaj Patrura, 149. 
Vittte, 112. 

Watermarks (Biblia Paupcrum), 177. 
Watermarks, 194, 243, 323, 328. 
Weiberkampfes, 1 23. 
White on black ground, 3 1 8, 320, 321, 

323- 

Woman's Duel, 1 24. 
Wood-blocks, ancient, 198. 
Woodcuts, 167. 
Woodcut of 1418, 167. 

of 1423, 167. 
Word, Incarnation of, 127. 
World, emblematic figure of, 305. 



1 1 29, prints from plates of, 334, 335. 
1 165-70, prints from plates of, 15, 24. 
1406 (?) the prints of the year, 72. 

MS. of the year, 72. 
1446, Master of, 31. 
1451, Master of, 31. 
1457, Master of, 30, 32, 41. 
1466, Master of, 148, 319. 
147 7, print of, 42, 335- 




INDEX TO SOME SPECIAL TOPICS. 




'GESofMan, 298. 
Alphabets, figured, 

203. 

Antichrist, and the 
1 5 signs of the Last 
Judgment, 184. 
Anthony, Saint, and St. Sebastian, 259, 
275. 

Cards, New Year and Christmas, 146. 

Catechisms, pictorial, of the 15th and 
l6th centuries, 292. 

Christopher, Saint, 168, 194. 

Corona IwnitiaricK, or crown lumina- 
ries of the Middle Ages, 25. 

" Criblee Maniere," early prints in the, 

99- 

connected with MS. and typo- 
graphic texts, 7 1. 

Crucifixion, the, 8l. 

Derschau, Baron, 78. 
Duels, judicial, 123. 

Exceptional methods of engraving and 
working off impressions, 313. 

Facsimiles, 130. 



Gregory, Saint, Mass of, 107. 
" Hortus Conclusus," 1 58. 

Impressions from early engraved plates, 
334- 

Kalendars, 302. 
Limbus, descent into, 39. 

Maniore Criblee, 71, 99. 
Mass of St. Gregory, 107. 

New Year and Christinas cards, 146. 
Nimbus, 212. 

Passion, instruments of the, 152. 

Saints, Dominican, 285. 

Intercessory, 256. 

Sebastian and Anthony, Saints, 259, 275. 

Tau, the, 234-276. 

Virgin, the blessed, 93. 

and Unicorn, 1 25. 

Unicorn and Virgin, l 25. 



CHISWICK PRESS : C. WICITTINGHAM, TOOKS COURT, CHANCERY LANK. 




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British Museum. Dept. of 
Prints and drawings 

A descriptive catalogue 
of early prints 



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