DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0151
Division A.—Single Woodouts.
129
upstandiug curls. The action of the hands of this figure is better expressed in a, and
the drawing of the hind leg of the dog between his feet is better in a. So is the drapery
throughout.
Gr. The most marked difference here is in the drawing of the eyes. Notice also the
right hand of the stooping man, and the little finger of his left hand.
H. On the high head-dress of the man, what is clearly seen in a (and in the copies
y and 5), to be a detached rihand wound twice about the peak,becomes in 8 so indistinct
as to appear part of the peak itself. The drawing of the left sleeve and arm is
not so good as in a.
I. This is one of the most marked cases of inferiority in /3. The expression of the two
per3ons, and all the details of their costume, have lost point in the copy.
K. In the pair of lovers wlio form the upright, notice how in a (followed by y and 5)
the eyes meet. /3 turns the young man’s eyes too much to 1., not upwards; he could not
see the lady’s eyes in this position. Thescroll in a has a double border; this is followed
by S (y here is indistinct). Notice, too, the form of the heart. In a, between the two
halves of the heart, there is a little escrescence at the top; this is followed by y and S ;
J3 makes the heart quite simple.
L. The faces again are better drawn in a. All the copies omit the two studs on the
hilt and two on the blade of the sword in a.
M. Notice the pointed expression of the man to the right, in a, the firmness of
drawing in his whole figure, the clasp of his hand with that of tlie next figure, and the
strength of this middle head also. The version in /3 is weaker throughout.
N. The r. leg of the man to 1. in 8 is hardly recognisable as a leg at all. The 1.
leg is also too thin, and the feet are small. In some respects 8 is good liere; the
expression of the animal, and of the man to r., though different from a, is also good.
O. a is more vigorous; the ears are much better drawn. Notice that the letter
touches the frame at the top in /3, whereas in a there is a wide interval.
P. The figures appear a little crowded in the space allotted to thern in /8. The
difference is chiefly in the curved figure to r., whose face is altered for the worse.
Q. Tlie energy of tlie grotesque heads in a is softened down in /3, and many of the
finer details in the drawing of the faces are omitted ; as in 0, the space left at the top
in a is crowded out in /3.
K. The upper figure to r. appears cramped in /3, and the direction of his eyes is
changed. The face of the man to 1. is much changed. In a this man has seven buttons
down the front of his coat, /3 gives him only two (y lias six, while 5 omits them all).
The lion’s claws are better drawn in a.
S. (Wanting entirely in a). The evidence of y and 5 does not suggest any marked
difference from j8.
T. In a only a strip 15 mm. wide down the left side remains. The drapery projeots
much farther over the shaded side of the frame than it does in 13. The faces in /3 are of
the characteristic type of that series.
V. A mere fragment in a. Tlie peaked cap touches the angle of tlie frame, but does
not project beyond it as in /3.
X. There is the usual contrast of vigour with vacancy in the faces. Some of the
hands are bad in a, especially the raised hand of the lower figure 1., but none of them
are so had as the 1. liand of tlie upper figure r. in /3, which has only three fingers and
is too wide and flat towards the wrist.
Y. The fine drawing of the wing in a has suffered in its translation into 8- The
legs are better modelled in a. 8 this time has introduced an additional button on the
coat of the figure to r. y has also four buttons, but places them differently, 5 omits
them.
Z. The face and hands of the prostrate figure are bad in 8- The grand head of
the old man in a lias become mean and feeble in 8, and the drapery is also much less
intelligently drawm.
Ornament. There are many alterations in detail, and in every case, as it seems to me,
8 suffers by the comparison. The organic growth of the design is not so well under-
stood and the elasticity of the leaves has been lost. For comparison it is best to select
the flowers and fruit. In the strawberry high on the 1. side the copyist who has drawn
a network of lines all over it has not succeeded in making it look like a real fruit so
well as the original engraver, who contented himself with a skilful suggestion of the
pips by a few curves. In the flower lower down on the 1. one of the surrounding
leaves has dropped from its place in 8 as if almost broken off. a draws it correctly,
and y follows a both here and in the drawing ofthe strawberry. Then the flower atthe
top iu the centre has tliree sharp spikes running down from it in a, of which two only
appear, less clearly drawn, in 8, while the third is confused with a leaf. y here follows
K
129
upstandiug curls. The action of the hands of this figure is better expressed in a, and
the drawing of the hind leg of the dog between his feet is better in a. So is the drapery
throughout.
Gr. The most marked difference here is in the drawing of the eyes. Notice also the
right hand of the stooping man, and the little finger of his left hand.
H. On the high head-dress of the man, what is clearly seen in a (and in the copies
y and 5), to be a detached rihand wound twice about the peak,becomes in 8 so indistinct
as to appear part of the peak itself. The drawing of the left sleeve and arm is
not so good as in a.
I. This is one of the most marked cases of inferiority in /3. The expression of the two
per3ons, and all the details of their costume, have lost point in the copy.
K. In the pair of lovers wlio form the upright, notice how in a (followed by y and 5)
the eyes meet. /3 turns the young man’s eyes too much to 1., not upwards; he could not
see the lady’s eyes in this position. Thescroll in a has a double border; this is followed
by S (y here is indistinct). Notice, too, the form of the heart. In a, between the two
halves of the heart, there is a little escrescence at the top; this is followed by y and S ;
J3 makes the heart quite simple.
L. The faces again are better drawn in a. All the copies omit the two studs on the
hilt and two on the blade of the sword in a.
M. Notice the pointed expression of the man to the right, in a, the firmness of
drawing in his whole figure, the clasp of his hand with that of tlie next figure, and the
strength of this middle head also. The version in /3 is weaker throughout.
N. The r. leg of the man to 1. in 8 is hardly recognisable as a leg at all. The 1.
leg is also too thin, and the feet are small. In some respects 8 is good liere; the
expression of the animal, and of the man to r., though different from a, is also good.
O. a is more vigorous; the ears are much better drawn. Notice that the letter
touches the frame at the top in /3, whereas in a there is a wide interval.
P. The figures appear a little crowded in the space allotted to thern in /8. The
difference is chiefly in the curved figure to r., whose face is altered for the worse.
Q. Tlie energy of tlie grotesque heads in a is softened down in /3, and many of the
finer details in the drawing of the faces are omitted ; as in 0, the space left at the top
in a is crowded out in /3.
K. The upper figure to r. appears cramped in /3, and the direction of his eyes is
changed. The face of the man to 1. is much changed. In a this man has seven buttons
down the front of his coat, /3 gives him only two (y lias six, while 5 omits them all).
The lion’s claws are better drawn in a.
S. (Wanting entirely in a). The evidence of y and 5 does not suggest any marked
difference from j8.
T. In a only a strip 15 mm. wide down the left side remains. The drapery projeots
much farther over the shaded side of the frame than it does in 13. The faces in /3 are of
the characteristic type of that series.
V. A mere fragment in a. Tlie peaked cap touches the angle of tlie frame, but does
not project beyond it as in /3.
X. There is the usual contrast of vigour with vacancy in the faces. Some of the
hands are bad in a, especially the raised hand of the lower figure 1., but none of them
are so had as the 1. liand of tlie upper figure r. in /3, which has only three fingers and
is too wide and flat towards the wrist.
Y. The fine drawing of the wing in a has suffered in its translation into 8- The
legs are better modelled in a. 8 this time has introduced an additional button on the
coat of the figure to r. y has also four buttons, but places them differently, 5 omits
them.
Z. The face and hands of the prostrate figure are bad in 8- The grand head of
the old man in a lias become mean and feeble in 8, and the drapery is also much less
intelligently drawm.
Ornament. There are many alterations in detail, and in every case, as it seems to me,
8 suffers by the comparison. The organic growth of the design is not so well under-
stood and the elasticity of the leaves has been lost. For comparison it is best to select
the flowers and fruit. In the strawberry high on the 1. side the copyist who has drawn
a network of lines all over it has not succeeded in making it look like a real fruit so
well as the original engraver, who contented himself with a skilful suggestion of the
pips by a few curves. In the flower lower down on the 1. one of the surrounding
leaves has dropped from its place in 8 as if almost broken off. a draws it correctly,
and y follows a both here and in the drawing ofthe strawberry. Then the flower atthe
top iu the centre has tliree sharp spikes running down from it in a, of which two only
appear, less clearly drawn, in 8, while the third is confused with a leaf. y here follows
K