Dodgson, Campbell: Catalogue of early German and Flemish woodcuts: preserved in the Department of Prints and Drawings in the British Museum (Band 1): [German and Flemish woodcuts of the XV century] (London, 1903)

8

Early German ancl Flemish Woodcuts.

These
woodcuts
made at the
monasteries.

Bise of the
professional
wood-
engravers
(u Brief-
maler ”) —

occur at this period. These little religious pictures were called
Heiligen,” or, in the Suahian dialect, "Helgen” or “Helglein.”
The names Heiligenmaler ” (occurring chiefly in Switzerland and
Alsace) and £< HeUigendrucker,” for the professional manufacturers of
these cuts, belong to a later date than the time of which I am
speaking; we hear, for instance, of “ Heiligenmaler ” at Basle in
1468 and 1480, of “ Heilgendrucker ” at the same place in 1471 and
1475. The “ heylige prenter ” in the Hetherlands made their appear-
ance still later. Early in the century these cuts do not seem to have
been common articles of trade made for sale by professiona.l wood-
engravers, but the work either of the monks themselves or of the lay
craftsmen dependent on the monasteries. There are numerous wood-
cuts which bear either the name or tlie arms of a convent (e.g. A 39,
62, 63, 72, 74, in this collection); but perhaps Schr. 932, with the
arms of Tegernsee (at Munich), is the only extant specimen so signed
which belongs to this eariy period. The production of woodcuts for
sale at the convents continued throughout rhis century and later still.
Schreiber quotes a writing of Luther’s, “ An den Christlichen Adel,”
in which he complaius that the Pope lets convents remain empty,
and only puts in a monk to say mass and sell pictures. A monk of
the Benedictine Monastery of Mondsee was producing woodcuts in
the second decade of the xvi century, copied in part from earlier
engravings, which he signed with the initials F. B. A. and the arms
of the monastery, and dates from 1513 to 1520 (Vienna and Berlin).

I have been speaking kitherto cliiefly of a period roughly coin-
ciding with the first half of the XV century. From about 1440
onwards, though the old conditions still hold good, new ones are intro-
ducecl whicli lead to considerable changes in the art of wood-engrav-
ing, ancl espeeially in the uses to whicli it was put. In tlie second
half of the century, though the production of the single picture goes
on, the production of large series of pictures for tlie illustration of
MSS. and books becomes alrnost more important. The manufacture
of woodcuts, like other branches of art, remains no longer exclusively
or principally in the hands of the monks. In its association with the
production of books, wlietker written, engraved on wood-blocks, or
printed witli movable type, wood-engraving falls into the liands of a

hacl eupposed, is valid, but does not necessitate tbe date being put earlier tlian 14I<>'
Tbe next dates wliicb occur are 1487 and 1446 on two woodcuts at Vienna (Schr. 1684
and 1637). It bas been admitted since tbe days of Friedricb von Bartscli tliat tbe
former date refers to tlie granting of an indulgence, tbe latter to tlie canonisation
of St. Nicbolas of Tolentino. Tlie dates 1440 and 1448 wbicb occur ou two block-
books rclate to tbc composition of tbe writings wbicb they reproduce. Most of tbe
dates wbicli oecur in tlie second balf of tbe century are free from ambiguity.