DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0106
Division A.—Single Woodeuts.
87
t ST. BEIDGET OF SWEDEN.
(Keproduction.)
Schr. 1289. W.—D 17
Goloured facsimile of the original cut in the John Rylands (late Spencer)
Library, now at Manchester. The artist’s name appears as
See Schr. 782, 877, 1956 for other cuts with the same signature.
[181 X 121.] Purchased at the Mclntosh sale, 1857. The facsimile appears to be
a special hand-coloured proof, made for W. Y. Ottley, of the reproduction published in
his “ History of Engraving,” vol. i, p. 66.
A 73.
ST. BEIDGET OE SWEDEN.
Schr. 1290.
St. Bridget sits on a low Gothic seat with a wide step, the middle part
of which projects and is of a rounded form. A high desk, in connection
with the 1. side of the throne, contains a locker for books, and St. Bridget
is writing her revelations in a book which lies open on the sloping top.
She has a nimbus with double rim, and wears the habit of her order, with
a cross on the 1. side of the mantle near the brooch which fastens it across
her breast. An angel with long, narrow wings, wearing a robe which
reaches to his feet, stands on the seat behind her, laying his 1. hand on
her shoulder and speaking into her ear. R. of the seat are the emblems
of the saint, a pilgrim’s stafF, hat and wallet, the lower end of the staff
passing through a crown. In the air three visions appear to her. L. God
the Father emerges from a luminous cloud, supporting with both hands
the pierced body of the Son. In the middle the holy Dove floats over the
head of St. Bridget, under a cloud from which long rays of light proceed.
The Yirgin appears r. from a third cloud, holding the naked Ohild in
her arms. The three Persons of the Trinity, as well as the Yirgin, are
distinguished by nimbi of clifferent design. Below, 1. of the desk, a
monk in the Brigittine habit, with a red cross, white in the centre, on
the r. side of his dark brown mantle, kneels with folded hands, facing r.
towards the saint. Over his head is a scroll, extending towards the vision
of the Father and Son, with the words :
© pater Be eelts mtserere nohts.
In the four corners of the print are shields with the following armo-
rial bearings : Upper corner, 1. the lion of Sweden, r. S.P.Q.R. ; lower
corners, 1. the Bavarian lozenges, r. the arms of Oettingen. On the front
of the projecting step is the letter U, which can hardly be accidental, and
may perhaps be interpreted as the wood-engraver’s signature. The border
is single. Hatching is freely used, but there is no cross-hatching.
[175 X 140.] A good impression in a strong black ink. C'olours : crimson, vermilion,
dark green, dark blue, dark brown, yellow oclire; pale gold over yellow oclire in the
nimbi. These colours are not certainly contemporary with the print. There is no doubt
that the following, at least, are late additions, viz. the opaque white, shaded with grey,
on St. Bridget’s veil, and the instruments of the Passion painted in body-colours on the
four shields, so as almost to conceal their original contents. The shields contain(in the
same order as above)rod and scourge, column and rope, spear aud reed, cross with blood
dripping from the three nails. Margin [2-16], on three sides only, uncoloured. Water-
mark (only the upper part is visible) a iiower with iive petals between two fiowers with
three petals, each on a separate stalk, points visible between the stalks; probablv tlre
87
t ST. BEIDGET OF SWEDEN.
(Keproduction.)
Schr. 1289. W.—D 17
Goloured facsimile of the original cut in the John Rylands (late Spencer)
Library, now at Manchester. The artist’s name appears as
See Schr. 782, 877, 1956 for other cuts with the same signature.
[181 X 121.] Purchased at the Mclntosh sale, 1857. The facsimile appears to be
a special hand-coloured proof, made for W. Y. Ottley, of the reproduction published in
his “ History of Engraving,” vol. i, p. 66.
A 73.
ST. BEIDGET OE SWEDEN.
Schr. 1290.
St. Bridget sits on a low Gothic seat with a wide step, the middle part
of which projects and is of a rounded form. A high desk, in connection
with the 1. side of the throne, contains a locker for books, and St. Bridget
is writing her revelations in a book which lies open on the sloping top.
She has a nimbus with double rim, and wears the habit of her order, with
a cross on the 1. side of the mantle near the brooch which fastens it across
her breast. An angel with long, narrow wings, wearing a robe which
reaches to his feet, stands on the seat behind her, laying his 1. hand on
her shoulder and speaking into her ear. R. of the seat are the emblems
of the saint, a pilgrim’s stafF, hat and wallet, the lower end of the staff
passing through a crown. In the air three visions appear to her. L. God
the Father emerges from a luminous cloud, supporting with both hands
the pierced body of the Son. In the middle the holy Dove floats over the
head of St. Bridget, under a cloud from which long rays of light proceed.
The Yirgin appears r. from a third cloud, holding the naked Ohild in
her arms. The three Persons of the Trinity, as well as the Yirgin, are
distinguished by nimbi of clifferent design. Below, 1. of the desk, a
monk in the Brigittine habit, with a red cross, white in the centre, on
the r. side of his dark brown mantle, kneels with folded hands, facing r.
towards the saint. Over his head is a scroll, extending towards the vision
of the Father and Son, with the words :
© pater Be eelts mtserere nohts.
In the four corners of the print are shields with the following armo-
rial bearings : Upper corner, 1. the lion of Sweden, r. S.P.Q.R. ; lower
corners, 1. the Bavarian lozenges, r. the arms of Oettingen. On the front
of the projecting step is the letter U, which can hardly be accidental, and
may perhaps be interpreted as the wood-engraver’s signature. The border
is single. Hatching is freely used, but there is no cross-hatching.
[175 X 140.] A good impression in a strong black ink. C'olours : crimson, vermilion,
dark green, dark blue, dark brown, yellow oclire; pale gold over yellow oclire in the
nimbi. These colours are not certainly contemporary with the print. There is no doubt
that the following, at least, are late additions, viz. the opaque white, shaded with grey,
on St. Bridget’s veil, and the instruments of the Passion painted in body-colours on the
four shields, so as almost to conceal their original contents. The shields contain(in the
same order as above)rod and scourge, column and rope, spear aud reed, cross with blood
dripping from the three nails. Margin [2-16], on three sides only, uncoloured. Water-
mark (only the upper part is visible) a iiower with iive petals between two fiowers with
three petals, each on a separate stalk, points visible between the stalks; probablv tlre