DOI Page / Citation link:
https://doi.org/10.11588/diglit.61523#0097
Division III.—Engravings.
93
and precise drawing] f°r Ms peculiar manner of shading with strong
close-set lines in one direction and without cross-hatching. Portions of
his engravings have been found copied in mss. dating as early as 1446.
The style and character of his works seem to identify him as belonging to
the school of Cologne.
“E. 8.” or “THE MASTER OF 1466.”
Goldsmith and engraver: worked about 1450-1467 : Upper Rhineland.
478. (c) God the Father with Adam and Eve.
(d) The Nativity.
479. (a) The Infant Christ as Ruler of the World.
(b) The Flagellation.
(c) The Lamentation over Christ’s Body.
(d) The Baptism.
(e) Armorial escutcheon with the Emblems of the Passion.
(f) St. Peter and St. Paul holding the Sudarium.
(g) Thue Virgin and Child enthroned, with Angels.
(h) The Virgin and Child enthroned, with the Holy Trinity
' above (known as “ The Madonna of Einsiedeln ”).
(i) The Virgin and Child enthroned, with Angels.
(a) (b) From the Malcolm collection.
480. (a) The Virgin and Child.
(b) St. John the Evangelist in Patmos.
(c) St. Christopher.
(d) The Virgin on a Crescent.
’"(e) The Virgin.
(f) St. John the Baptist, with the four Fathers of the Church
and the emblems of the four Evangelists.
These seventeen examples illustrate well the works of the most prolific, most
original, and in a certain sense most intfuentialofthe early painter-
engravers of Germany. Neither his name nor the exact locality where he
worked has been ascertained, and he is therefore known only by the
initials “ E. 8.,” and the dates, 1466 and 1467, with which he signed some
of his plates. It would appear these dated plates were his latest, and
that he adopted the practice of signing in order to protect his works from
the number of copies which their popularity in course of time brought
into the market. One of the most frequent of his copyists is Israhel van
Meckenem. We find the engraved designs of “E. 8.” also in many
instances furnishing the models alike to goldsmiths, miniature-painters,
and the designers of block-books. It is probable that his earliest work
dates from, or perhaps even earlier than, the middle of the century. His
style is marked by much of primitive or “ Gothic ” angularity and quaint-
ness in the figures, with a great skill in the subordinate ornaments and
details, and a true goldsmith’s feeling for the general decorative enrich-
ment of the plate. His work bears much resemblance to that of contem-
porary sculptors and painters of the school of Ulm; and to this or some
neighbouring city of the Swabian region the'masteFmust have belonged,
as is evident alike from the style of his art and from the dialect of his in-
scriptions. The examples shown are all of the very finest quality, with
the exception of no. 479 (b). This is the most important of three pieces
93
and precise drawing] f°r Ms peculiar manner of shading with strong
close-set lines in one direction and without cross-hatching. Portions of
his engravings have been found copied in mss. dating as early as 1446.
The style and character of his works seem to identify him as belonging to
the school of Cologne.
“E. 8.” or “THE MASTER OF 1466.”
Goldsmith and engraver: worked about 1450-1467 : Upper Rhineland.
478. (c) God the Father with Adam and Eve.
(d) The Nativity.
479. (a) The Infant Christ as Ruler of the World.
(b) The Flagellation.
(c) The Lamentation over Christ’s Body.
(d) The Baptism.
(e) Armorial escutcheon with the Emblems of the Passion.
(f) St. Peter and St. Paul holding the Sudarium.
(g) Thue Virgin and Child enthroned, with Angels.
(h) The Virgin and Child enthroned, with the Holy Trinity
' above (known as “ The Madonna of Einsiedeln ”).
(i) The Virgin and Child enthroned, with Angels.
(a) (b) From the Malcolm collection.
480. (a) The Virgin and Child.
(b) St. John the Evangelist in Patmos.
(c) St. Christopher.
(d) The Virgin on a Crescent.
’"(e) The Virgin.
(f) St. John the Baptist, with the four Fathers of the Church
and the emblems of the four Evangelists.
These seventeen examples illustrate well the works of the most prolific, most
original, and in a certain sense most intfuentialofthe early painter-
engravers of Germany. Neither his name nor the exact locality where he
worked has been ascertained, and he is therefore known only by the
initials “ E. 8.,” and the dates, 1466 and 1467, with which he signed some
of his plates. It would appear these dated plates were his latest, and
that he adopted the practice of signing in order to protect his works from
the number of copies which their popularity in course of time brought
into the market. One of the most frequent of his copyists is Israhel van
Meckenem. We find the engraved designs of “E. 8.” also in many
instances furnishing the models alike to goldsmiths, miniature-painters,
and the designers of block-books. It is probable that his earliest work
dates from, or perhaps even earlier than, the middle of the century. His
style is marked by much of primitive or “ Gothic ” angularity and quaint-
ness in the figures, with a great skill in the subordinate ornaments and
details, and a true goldsmith’s feeling for the general decorative enrich-
ment of the plate. His work bears much resemblance to that of contem-
porary sculptors and painters of the school of Ulm; and to this or some
neighbouring city of the Swabian region the'masteFmust have belonged,
as is evident alike from the style of his art and from the dialect of his in-
scriptions. The examples shown are all of the very finest quality, with
the exception of no. 479 (b). This is the most important of three pieces