DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0112
Division A.—Single Woodcuts.
93
r. hancl, a book in his L, turns away and looks straight before him at the
spectator. The ground is marked by horizontal lines, which slope down
towards the r. side.
Below a single line at the foot of the print are a prayer and statement
of indulgence, in fifteen lines of xylographic text in the German language,
which are correctly printed by Schr., with the following exceptions:
1. 4 (in original), read “hftt” for “bttt” ; 1. 7, omit comma after
“ gfdoubtgctl.” The whole is enclosed by a single border. Careful
hatching is employed on the draperies.
[272 (cut) X 191.] A good and well-preserved impression, cut slightly witliin the
border at the top, but with a margin [1—4] on the other three sides. Colours: madder
red (two shades), grey, black, yellow, green. The text is rubricated.
Purchased from Messrs. Smith, 1845. Repr. Willsh. i, pl. ix. (much reduced).
A 84.
THE MASS OF ST. GREGORY.
Schr. 1463; W. u. Z. 114. W.—D 81.
St. Gregory, with a plain nimbus, vested in alb and chasuble, kneels
1., with folded hands, on the pavement below the altar, on which the full-
length figure of the Man of Sorrows stands, with the chalice ancl paten
between his feet. The two altar lights and the missal are in their places
on the altar, and behind the retable stands the cross, which is
surrounded by the instruments of the Passion in great detail. Two
cardinals stand behind the kneeling pope, the first of whom carries the
latter’s tiara. No hatching is used. At the foot of the print, separated
from the clesign by two lines, are ten lines of xylographic text in Gothic
characters, in the German language. Schr. pi’ints these correctly on the
whole, but in 1. 9 read “ajjlas” for “ applas ”; 1. 10 “gaUCtUg” is a
restoration, the letters “ ga • • • • 8 ” only remaining. It should be noticed
that the first five lines are defective at the beginning, as well as the rest.
The wh.ole is surrounded by a single border.
[250 X 180 (cut)]. The print has been seriously damaged, especially on the 1. side,
and cut within the border on all sides except the r. The impression is taken, probably
by friction, in a pale brown ink. Colours : crimson lake, bright yellow, bright green,
grey, black. No watermark.
Purchased at the Weigel sale, 1872.
The cut is a German (probably Suabian) copy of a Flemish original, formerly in the
Weigel collection (W. u. Z. 113, repr.) now in tlie Germanic Museurn, Nuremberg.
The original is believed to date from soon after 1455. The copy cannot be much later.
Both cuts have the chequered pavement whicli commonly occurs in the dotted prints.
A 85.
THE MASS OF ST. GREGORY.
Schr. 1477. W.—D 82.
St. Gregory, with a plain nimbus, vested in alb and chasuble, with
gloves on his hands, kneels r. facing 1. before an altar placed obliquely
across the print, the front and side of which have a large leaf-ornament in
white on a black ground. On the altar are a single candlestick, an open
missal, the chalice and the host lying on a corporal. Farther back, in
93
r. hancl, a book in his L, turns away and looks straight before him at the
spectator. The ground is marked by horizontal lines, which slope down
towards the r. side.
Below a single line at the foot of the print are a prayer and statement
of indulgence, in fifteen lines of xylographic text in the German language,
which are correctly printed by Schr., with the following exceptions:
1. 4 (in original), read “hftt” for “bttt” ; 1. 7, omit comma after
“ gfdoubtgctl.” The whole is enclosed by a single border. Careful
hatching is employed on the draperies.
[272 (cut) X 191.] A good and well-preserved impression, cut slightly witliin the
border at the top, but with a margin [1—4] on the other three sides. Colours: madder
red (two shades), grey, black, yellow, green. The text is rubricated.
Purchased from Messrs. Smith, 1845. Repr. Willsh. i, pl. ix. (much reduced).
A 84.
THE MASS OF ST. GREGORY.
Schr. 1463; W. u. Z. 114. W.—D 81.
St. Gregory, with a plain nimbus, vested in alb and chasuble, kneels
1., with folded hands, on the pavement below the altar, on which the full-
length figure of the Man of Sorrows stands, with the chalice ancl paten
between his feet. The two altar lights and the missal are in their places
on the altar, and behind the retable stands the cross, which is
surrounded by the instruments of the Passion in great detail. Two
cardinals stand behind the kneeling pope, the first of whom carries the
latter’s tiara. No hatching is used. At the foot of the print, separated
from the clesign by two lines, are ten lines of xylographic text in Gothic
characters, in the German language. Schr. pi’ints these correctly on the
whole, but in 1. 9 read “ajjlas” for “ applas ”; 1. 10 “gaUCtUg” is a
restoration, the letters “ ga • • • • 8 ” only remaining. It should be noticed
that the first five lines are defective at the beginning, as well as the rest.
The wh.ole is surrounded by a single border.
[250 X 180 (cut)]. The print has been seriously damaged, especially on the 1. side,
and cut within the border on all sides except the r. The impression is taken, probably
by friction, in a pale brown ink. Colours : crimson lake, bright yellow, bright green,
grey, black. No watermark.
Purchased at the Weigel sale, 1872.
The cut is a German (probably Suabian) copy of a Flemish original, formerly in the
Weigel collection (W. u. Z. 113, repr.) now in tlie Germanic Museurn, Nuremberg.
The original is believed to date from soon after 1455. The copy cannot be much later.
Both cuts have the chequered pavement whicli commonly occurs in the dotted prints.
A 85.
THE MASS OF ST. GREGORY.
Schr. 1477. W.—D 82.
St. Gregory, with a plain nimbus, vested in alb and chasuble, with
gloves on his hands, kneels r. facing 1. before an altar placed obliquely
across the print, the front and side of which have a large leaf-ornament in
white on a black ground. On the altar are a single candlestick, an open
missal, the chalice and the host lying on a corporal. Farther back, in