DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0100
Division A.—Single Woocleuts.
81
corner. It is liard to understand how Sclireiber could liave seen in the youtliful figure of
the Yirgin, with her secular attire and flowing hair, the Dominican nun, St. Catherine
of Siena. The Yirgin is always represented thus, as a slight and girlish figure, below
the mean height, wlien she accompanies the tall and matronly St. Anne. Tlie rays on
the rim of her nimbus mark her, in this case, as the saint of superior dignity. The
figure described above as St. Anne, is called by Willshire St. Elizabeth. This saint,
however, rarely, if ever, occurs as a member of the Holy Family, unless the infant St.
John Baptist is also present. Such a representation is far more frequent in Italian than
in Northern art.
This and the two following cuts were produced at the Brigittine Convent of Marien-
water, near Hertogenbosch, about (perhaps after) 1500. Four otlier cuts in a similar
style, not described by Schreiber, one of which bears the name of Marienwater, are
exhibited in the Museum of the Town Hal] at Haarlem. They represent the Agony in
the Garden, Christ falling underthe Cross, the Sacred Monogram, and St. Catherine ot'
Sweden, daughter of St. Bridget, with pastoral stafif and a deer. All except the second
have an ornamental border with flowers and iusects, like Schr. 804 and 067.
A 62.
THE VIRGTN AND CHILD IN GLORY, WITH ST. CATHERINE AND
ST. BARBARA.
Schr. 1154. W.—D G2.
The Virgin, holding the Child on her 1. arm, stands on the crescent
within a mandorla, which is held near the top by two flying angels. She
has a crown and nimbus, and her whole body is surrounded by rays. Her
hair falls loose over her shoulders. Her mantle is clasped at the throat
by a brooch over her robe. The Child wears a loose tunic. He holds a
ring in his r. hand in the direction of St. Catherine of Alexandria, who
sits 1. on the ground, with a book open on her lap, a sword in her 1. hand,
and the wheel behind her. Both the Virgin and Christ, however, are
looking not at St. Catherine, but at St. Barbara, who sits r. with a book
open on her lap, a palm branch in her r. hand, which she has just received
from Christ, and the tower behind her. Both the saints have nimbus and
crown, and are similarly attired. Each sits on a httle grassy hill. No
indication of sky. No cross-hatching. Single border.
[79 X 78.] On tbe lower margin, outside tbe border line, are eiglit lines of
xylograplric t.ext:—-
0oti gntct b altf ijctltdjstc matta moctf go
tfs. contgijtnc tfcs Ijcmcls. poovtc tfcs jjatsns.
broutoc tf’ torrdt ♦ tiu bist cc sauttcr ntagct. ot
fattgc sontf sontfc. Btt Ijchstc* 01jm otfagc so
0^son0c. (5Ijt ijcht ijoort gchracijt 0c sccppcr
cn 0cn ImTosscr Ocr tocrclt. £n 0c tocldtc tc nt
c ttotucl. Bt0t bocr mn sott0c cn bTost mt ba
allc gtta0n. <T. (Bcprcnt tc ntartc toatcr.
See the similar vernacular prayer transcribed above (A 51) and tlie Latin vereion.
engraved under tbe Madonna by Israbel van Mecbenem, B. 42.
Golours: crimson, carmine, blue, yellow, verdigris green.
For origin, see remarks on A 61.
THE VIRGIN AND CIIILD IN THE PRESENCE OF FOUR SAINTS.
Schr. 1158. (See tlie collection of Italian woodcuts.)
G
81
corner. It is liard to understand how Sclireiber could liave seen in the youtliful figure of
the Yirgin, with her secular attire and flowing hair, the Dominican nun, St. Catherine
of Siena. The Yirgin is always represented thus, as a slight and girlish figure, below
the mean height, wlien she accompanies the tall and matronly St. Anne. Tlie rays on
the rim of her nimbus mark her, in this case, as the saint of superior dignity. The
figure described above as St. Anne, is called by Willshire St. Elizabeth. This saint,
however, rarely, if ever, occurs as a member of the Holy Family, unless the infant St.
John Baptist is also present. Such a representation is far more frequent in Italian than
in Northern art.
This and the two following cuts were produced at the Brigittine Convent of Marien-
water, near Hertogenbosch, about (perhaps after) 1500. Four otlier cuts in a similar
style, not described by Schreiber, one of which bears the name of Marienwater, are
exhibited in the Museum of the Town Hal] at Haarlem. They represent the Agony in
the Garden, Christ falling underthe Cross, the Sacred Monogram, and St. Catherine ot'
Sweden, daughter of St. Bridget, with pastoral stafif and a deer. All except the second
have an ornamental border with flowers and iusects, like Schr. 804 and 067.
A 62.
THE VIRGTN AND CHILD IN GLORY, WITH ST. CATHERINE AND
ST. BARBARA.
Schr. 1154. W.—D G2.
The Virgin, holding the Child on her 1. arm, stands on the crescent
within a mandorla, which is held near the top by two flying angels. She
has a crown and nimbus, and her whole body is surrounded by rays. Her
hair falls loose over her shoulders. Her mantle is clasped at the throat
by a brooch over her robe. The Child wears a loose tunic. He holds a
ring in his r. hand in the direction of St. Catherine of Alexandria, who
sits 1. on the ground, with a book open on her lap, a sword in her 1. hand,
and the wheel behind her. Both the Virgin and Christ, however, are
looking not at St. Catherine, but at St. Barbara, who sits r. with a book
open on her lap, a palm branch in her r. hand, which she has just received
from Christ, and the tower behind her. Both the saints have nimbus and
crown, and are similarly attired. Each sits on a httle grassy hill. No
indication of sky. No cross-hatching. Single border.
[79 X 78.] On tbe lower margin, outside tbe border line, are eiglit lines of
xylograplric t.ext:—-
0oti gntct b altf ijctltdjstc matta moctf go
tfs. contgijtnc tfcs Ijcmcls. poovtc tfcs jjatsns.
broutoc tf’ torrdt ♦ tiu bist cc sauttcr ntagct. ot
fattgc sontf sontfc. Btt Ijchstc* 01jm otfagc so
0^son0c. (5Ijt ijcht ijoort gchracijt 0c sccppcr
cn 0cn ImTosscr Ocr tocrclt. £n 0c tocldtc tc nt
c ttotucl. Bt0t bocr mn sott0c cn bTost mt ba
allc gtta0n. <T. (Bcprcnt tc ntartc toatcr.
See the similar vernacular prayer transcribed above (A 51) and tlie Latin vereion.
engraved under tbe Madonna by Israbel van Mecbenem, B. 42.
Golours: crimson, carmine, blue, yellow, verdigris green.
For origin, see remarks on A 61.
THE VIRGIN AND CIIILD IN THE PRESENCE OF FOUR SAINTS.
Schr. 1158. (See tlie collection of Italian woodcuts.)
G