DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0064
48
Ectrhj German and Flemish Woodeuts.—Part I.
A 7 (1-28).
THE PASSION, 1457.
A Series of Twenty-eiglit Cuts. W.—A 2.
(1) Schr.
127.
Jesus disputing with the Doctors in the Temple.
(2)
)>
161.
Jesus vvashing the Apostles’ Feet.
(3)
5 >
174.
The Last Supper. On the bench on which Judas is
sitting is the inscription, Ibtt tOV (Repr. W.
pl. ii.)
(4)
)>
197.
The Agony in the Garden.
(5)
))
215.
The Consternation of the Soldiers.
(6)
))
221.
The Betrayal of Christ by Judas.
(7)
) )
238.
Caiaphas rencling his Robes.
St. Peter’s Denial of Christ.
(8)
) )
247.
(9)
))
231.
Clirist before Pilate (not “ Annas.” Schr.)
(10)
))
268.
Christ before Herod.
(11)
))
252.
The Mocking of Christ.
(12)
))
296.
The Plagellation.
(13)
))
323.
Christ being crownecl with Thorns.
(14)
))
331.
Ecce Homo.
(15)
))
285.
Pilate washing his Hands.
(16)
) )
350.
Christ bearing the Cross.
(17)
))
656.
Christ being strippecl of his Robe.
(18)
))
662.
Christ awaiting Crucifixion.
(19)
))
676.
Christ being nailed to the Cross.
(20)
) )
447.
Christ on the Cross, with the Yirgin and St. Jolm.
(21)
))
690.
Christ descending into Hell.
(22)
))
499.
The Descent from the Cross.
(23)
))
509.
The Lamentation over the Bocly of Christ.
(24)
))
528.
The Entombment.
(25)
))
543.
The Resurrection.
(26)
))
551.
The Holy Women at the Sepulchre,
(27)
))
558.
Christ appearing to St. Mary Magdalen.
(28)
))
569.
The Increclulity of St. Thomas.
[c. 90 X
67.]
The cuts are printed on vellum, and have been cut close to the outer
line of the border. Most of them liave MS. on the verso. They are well printed, not
in pale ihk (P. i, 201; ii, 8), but in a strong black, and in excellent preservation.
Colours : gold, silver, vermilion, crimson, ultramarine, verdigris green, yellowish green,
yellow, brown, grey, black ; the border vermilion. The colours are not merely applied
in flat surfaces, but are carefully shaded.
From the Bindon Blood Library, second portion; sold at Sotheby’s, August 1S56.
Lot 4467 (£2 11s.), described as “ Yita Christi; a series of woodcuts.” Tlie cuts were
then already in their present detached state.
Purchased from Mr. Iiamilton, 1856.
Willshire, following Waagen (“ Galleries and Cabinets of Art in Great Britain,”
London, 1857, p. 49) and P. ii, 8, describes these cuts as engravings on copper; but this
view is certainly wrong, and they are without doubt impressions from relief-blocks.
I believe Schr. to be right in placing them among woodcuts. There is not a iine which
could not liave been printed from a wood-block, and tlie sliglit fractures in the border of
nos. (26) and (27) are evidence in favour of wood. The cleanness and completeness
with which the background is cirt away is another indication that wood-blocbs were
used. The difficulty of cutting away metal was so great that the engravers usually
preferred to leave tlie surface standing and cover it with ornament; when they did cut
it away they were seldom able to avoid leaving irregular lines and patches in relief.
The drawing and execution seem almost too good for so early a date as 1457, but
the inscription on no. (3) admits of no other interpretation, except on the gratuitous
Ectrhj German and Flemish Woodeuts.—Part I.
A 7 (1-28).
THE PASSION, 1457.
A Series of Twenty-eiglit Cuts. W.—A 2.
(1) Schr.
127.
Jesus disputing with the Doctors in the Temple.
(2)
)>
161.
Jesus vvashing the Apostles’ Feet.
(3)
5 >
174.
The Last Supper. On the bench on which Judas is
sitting is the inscription, Ibtt tOV (Repr. W.
pl. ii.)
(4)
)>
197.
The Agony in the Garden.
(5)
))
215.
The Consternation of the Soldiers.
(6)
))
221.
The Betrayal of Christ by Judas.
(7)
) )
238.
Caiaphas rencling his Robes.
St. Peter’s Denial of Christ.
(8)
) )
247.
(9)
))
231.
Clirist before Pilate (not “ Annas.” Schr.)
(10)
))
268.
Christ before Herod.
(11)
))
252.
The Mocking of Christ.
(12)
))
296.
The Plagellation.
(13)
))
323.
Christ being crownecl with Thorns.
(14)
))
331.
Ecce Homo.
(15)
))
285.
Pilate washing his Hands.
(16)
) )
350.
Christ bearing the Cross.
(17)
))
656.
Christ being strippecl of his Robe.
(18)
))
662.
Christ awaiting Crucifixion.
(19)
))
676.
Christ being nailed to the Cross.
(20)
) )
447.
Christ on the Cross, with the Yirgin and St. Jolm.
(21)
))
690.
Christ descending into Hell.
(22)
))
499.
The Descent from the Cross.
(23)
))
509.
The Lamentation over the Bocly of Christ.
(24)
))
528.
The Entombment.
(25)
))
543.
The Resurrection.
(26)
))
551.
The Holy Women at the Sepulchre,
(27)
))
558.
Christ appearing to St. Mary Magdalen.
(28)
))
569.
The Increclulity of St. Thomas.
[c. 90 X
67.]
The cuts are printed on vellum, and have been cut close to the outer
line of the border. Most of them liave MS. on the verso. They are well printed, not
in pale ihk (P. i, 201; ii, 8), but in a strong black, and in excellent preservation.
Colours : gold, silver, vermilion, crimson, ultramarine, verdigris green, yellowish green,
yellow, brown, grey, black ; the border vermilion. The colours are not merely applied
in flat surfaces, but are carefully shaded.
From the Bindon Blood Library, second portion; sold at Sotheby’s, August 1S56.
Lot 4467 (£2 11s.), described as “ Yita Christi; a series of woodcuts.” Tlie cuts were
then already in their present detached state.
Purchased from Mr. Iiamilton, 1856.
Willshire, following Waagen (“ Galleries and Cabinets of Art in Great Britain,”
London, 1857, p. 49) and P. ii, 8, describes these cuts as engravings on copper; but this
view is certainly wrong, and they are without doubt impressions from relief-blocks.
I believe Schr. to be right in placing them among woodcuts. There is not a iine which
could not liave been printed from a wood-block, and tlie sliglit fractures in the border of
nos. (26) and (27) are evidence in favour of wood. The cleanness and completeness
with which the background is cirt away is another indication that wood-blocbs were
used. The difficulty of cutting away metal was so great that the engravers usually
preferred to leave tlie surface standing and cover it with ornament; when they did cut
it away they were seldom able to avoid leaving irregular lines and patches in relief.
The drawing and execution seem almost too good for so early a date as 1457, but
the inscription on no. (3) admits of no other interpretation, except on the gratuitous