DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0082
63
Division A.—Single Woodcuts.
Prov. xiii, 3; xviii, 21.) There is no liatching. The background is
quite plain.
[141 (cut) X 89.] Good impression in black ink, produced by friction. Well pre~
served, but cut at tbe bottorn. Colours: grey, dull yellow, carmine (faded to pale
brown).
The subject of tliis cut has not been satisfactorily explained. Willshire describes
it as “ Jesus Christ in the habit of the order of St. Francis.” But the distinctive mark
of that habit, the cord round tlie waist, is wanting, and indeed there is no indication that
the robe is of a monastic character at all. Schr. chooses the title “ Le Redempteur en
pricre,” but does not attach anyparticular significance to the representation. The words
“en habits de penitence” allude to the grey colour of the robe, but to judge by the
other colours, it is probable that this has faded and was originally blue.
A clue to the subject may perhaps be found in the text on the scroll. This is not
even mentioned by Schr. It is true tliat the words were not cut on the block, but there
can be little doubt that they were chosen to express the intention of the draughtsman,
and that the print would have been considered incomplete till the inscription and the
colour had been added. It is now suggested that the subject of the cut is Christ’g
refusal to answer the high priest (Matt. xxvi, 63; Mark xiv, 61), represented, not
kistorically as one of tlie events of the Passion, but with a devotional purpose, to
inculcate the control of the tongue. The garment would in that case be simply the
seamless robe of Christ (John xix, 23).
A 33.
THE MAN OF SOKEOWS.
Schr. 864; W. u. Z. 134. W.—D 27.
Christ, with cruciform nimbus ancl crown of thorns, bends his heacl 1.
and his long hair, parted in the middle over his brow, falls over his
r. shoulder, His naked body is seen almost to the hips. His r. hand
presses his r. side below the bleeding spear-wound. His 1. hancl is raisecl
to show the bleeding wouncl in the palm. On either side of his head are
the words . CCT ° ° fjOttt . and above them rays, which proceecl from two
points beyoncl the present limits of the print, are directed towards the
nimbus. There is no hatching.
[145 X 107 (cut).] Printed by friction in a pale brown ink. Cut down irregularly
on all sides, and torn or rubbed in several places. Colours: vermilion, pale yellow,
yellowisk. green, carmine.
Purchased at tlre Weigel sale, 1872. Rcpr. W. u. Z. i, p. 218 (inaccurately
coloured).
The body is strangely'contorted, but the drawing of the face ancl liands is of unusual
excellence and refinement. Sclir. calls attention to the resemblance of the type of
Christ to that of a miniature in a MS. of Matthew Paris (MS. 26, before 1240) in the
library of Corpus Christi College, Cambridge. (Repr. in Karl Pearson, “ Die Fronika.”
Strassburg, 1887, pl. ii, 1. side.)
A 34.
TIIE MAN OF SORROWS.
Schr. S69. W.—D 29.
The Man of Sorrows, with a cruciform nimbus, but without the
crown of thorns, is seen to the waist naked, with arms crossed before
him at the wrists, standing in front of a Latin cross, veined ancl
Division A.—Single Woodcuts.
Prov. xiii, 3; xviii, 21.) There is no liatching. The background is
quite plain.
[141 (cut) X 89.] Good impression in black ink, produced by friction. Well pre~
served, but cut at tbe bottorn. Colours: grey, dull yellow, carmine (faded to pale
brown).
The subject of tliis cut has not been satisfactorily explained. Willshire describes
it as “ Jesus Christ in the habit of the order of St. Francis.” But the distinctive mark
of that habit, the cord round tlie waist, is wanting, and indeed there is no indication that
the robe is of a monastic character at all. Schr. chooses the title “ Le Redempteur en
pricre,” but does not attach anyparticular significance to the representation. The words
“en habits de penitence” allude to the grey colour of the robe, but to judge by the
other colours, it is probable that this has faded and was originally blue.
A clue to the subject may perhaps be found in the text on the scroll. This is not
even mentioned by Schr. It is true tliat the words were not cut on the block, but there
can be little doubt that they were chosen to express the intention of the draughtsman,
and that the print would have been considered incomplete till the inscription and the
colour had been added. It is now suggested that the subject of the cut is Christ’g
refusal to answer the high priest (Matt. xxvi, 63; Mark xiv, 61), represented, not
kistorically as one of tlie events of the Passion, but with a devotional purpose, to
inculcate the control of the tongue. The garment would in that case be simply the
seamless robe of Christ (John xix, 23).
A 33.
THE MAN OF SOKEOWS.
Schr. 864; W. u. Z. 134. W.—D 27.
Christ, with cruciform nimbus ancl crown of thorns, bends his heacl 1.
and his long hair, parted in the middle over his brow, falls over his
r. shoulder, His naked body is seen almost to the hips. His r. hand
presses his r. side below the bleeding spear-wound. His 1. hancl is raisecl
to show the bleeding wouncl in the palm. On either side of his head are
the words . CCT ° ° fjOttt . and above them rays, which proceecl from two
points beyoncl the present limits of the print, are directed towards the
nimbus. There is no hatching.
[145 X 107 (cut).] Printed by friction in a pale brown ink. Cut down irregularly
on all sides, and torn or rubbed in several places. Colours: vermilion, pale yellow,
yellowisk. green, carmine.
Purchased at tlre Weigel sale, 1872. Rcpr. W. u. Z. i, p. 218 (inaccurately
coloured).
The body is strangely'contorted, but the drawing of the face ancl liands is of unusual
excellence and refinement. Sclir. calls attention to the resemblance of the type of
Christ to that of a miniature in a MS. of Matthew Paris (MS. 26, before 1240) in the
library of Corpus Christi College, Cambridge. (Repr. in Karl Pearson, “ Die Fronika.”
Strassburg, 1887, pl. ii, 1. side.)
A 34.
TIIE MAN OF SORROWS.
Schr. S69. W.—D 29.
The Man of Sorrows, with a cruciform nimbus, but without the
crown of thorns, is seen to the waist naked, with arms crossed before
him at the wrists, standing in front of a Latin cross, veined ancl