DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0162
Division A.—Single Woodcuts.
137
common origin, and the similarity of dimensions and style make it probable that they
were cut on opposite sides of the same block. The probable date is about 1500 or a
little earlier. The cntting of the inscriptions greatly resembles that to be seen in tlie
book of Conrad Oeltis, “ Quatuor Libri Amorum,” Nuremberg, 1502.
A 141.
HERCULES GERMANICUS AND MAXIMILIAN, KING OF THE ROMANS.
The block is divided horizontally into two compartments, each
containing one of the subjects with three lines of xylographic text
over it.
In the upper portion HERCVLES GERMANICVS stands on a hill,
with legs wide apart and between them a shield, with the hydra, club,
poplar crown, bow and arrows and other emblems of his labours. He
wears the poplar crown (Corona Populea) and lion’s skin (Leonis pellis),
and holds in his r. hand the club (Claua Trinodis) and in his 1. hand the
bow (Arcus Emoni9) and arrow (Tela Minora), on which the hydra
(Hidra) is impaled. His sword is described as Harpen. Over his head
is the inscription :—•
Hercules Amphitrionis Iouisq’ Filius Victoriosissimus & Inuic-
tissimus Monstrosop | Regum Terror & Domitor Pacator Orbis
Mundi Saluator Scientia^. Virtutumq’ | Instaurator Musageticus
Heroum Maximus Gloriosissimus Decimator Orbis. |
In the lower portion Maximilian, with the Imperial crown, in a full
suit of Gothic armour, rides to r., between two attendants on foot
(Populares), who carry a Burgundian banner and a halberd. This group
is preceded by a mounted man with a cross-bow, with an attendant on
foot bearing a banner inscribed “ Boemi,” and by a knight on horseback,
with a squire bearing a cross-bow and a banner with the Milanese
biscione. The two last are described as “ Mediolanenses.” In the
centre, below Maximilian, is a shielcl with the single eagle and crown of
the King of the Romans, surrounded by tlie collar of the Golden Fleece
(Vellus Aureum). Maximilian is followed by three pairs of men on foot
with banners inscribed “ Nodo Imperii,” “ Suicep” and “ Cup II.,” and,
on a lower level, three single horsemen, with banners inscribed “ Huni,”
“ Stradioti,” and “ Raciani.” At the top of the lower compartment is
the inscription:—
Maximilianus Friderici Tercii Imperatoris Filius
Rex Regum & Dominus Dominantium Potentissimus
Hercules Germanic5 Mundi Monarcha Gloriosissimus.
The whole woodcut has a single border-line.
[265 X 165.] Not coloured. On old paper, with large waterruark of the arms of an
Elector of Mentz, of the House of Bavaria. This must be Franz Ludwig, of the
Palatinate, who was Archbishop of Mentz, 1729-32. This date agrees very well with
that of a German inscription in fadedink, relating to Roveredo silk, on the back of the
sheet.
Purchased from Mr. Daniell, 1877.
This pair of woodcuts, hitherto undescribed, is interesting as an example of the
influence of the humanists on art at the beginuing of the German Renaissance. It is
137
common origin, and the similarity of dimensions and style make it probable that they
were cut on opposite sides of the same block. The probable date is about 1500 or a
little earlier. The cntting of the inscriptions greatly resembles that to be seen in tlie
book of Conrad Oeltis, “ Quatuor Libri Amorum,” Nuremberg, 1502.
A 141.
HERCULES GERMANICUS AND MAXIMILIAN, KING OF THE ROMANS.
The block is divided horizontally into two compartments, each
containing one of the subjects with three lines of xylographic text
over it.
In the upper portion HERCVLES GERMANICVS stands on a hill,
with legs wide apart and between them a shield, with the hydra, club,
poplar crown, bow and arrows and other emblems of his labours. He
wears the poplar crown (Corona Populea) and lion’s skin (Leonis pellis),
and holds in his r. hand the club (Claua Trinodis) and in his 1. hand the
bow (Arcus Emoni9) and arrow (Tela Minora), on which the hydra
(Hidra) is impaled. His sword is described as Harpen. Over his head
is the inscription :—•
Hercules Amphitrionis Iouisq’ Filius Victoriosissimus & Inuic-
tissimus Monstrosop | Regum Terror & Domitor Pacator Orbis
Mundi Saluator Scientia^. Virtutumq’ | Instaurator Musageticus
Heroum Maximus Gloriosissimus Decimator Orbis. |
In the lower portion Maximilian, with the Imperial crown, in a full
suit of Gothic armour, rides to r., between two attendants on foot
(Populares), who carry a Burgundian banner and a halberd. This group
is preceded by a mounted man with a cross-bow, with an attendant on
foot bearing a banner inscribed “ Boemi,” and by a knight on horseback,
with a squire bearing a cross-bow and a banner with the Milanese
biscione. The two last are described as “ Mediolanenses.” In the
centre, below Maximilian, is a shielcl with the single eagle and crown of
the King of the Romans, surrounded by tlie collar of the Golden Fleece
(Vellus Aureum). Maximilian is followed by three pairs of men on foot
with banners inscribed “ Nodo Imperii,” “ Suicep” and “ Cup II.,” and,
on a lower level, three single horsemen, with banners inscribed “ Huni,”
“ Stradioti,” and “ Raciani.” At the top of the lower compartment is
the inscription:—
Maximilianus Friderici Tercii Imperatoris Filius
Rex Regum & Dominus Dominantium Potentissimus
Hercules Germanic5 Mundi Monarcha Gloriosissimus.
The whole woodcut has a single border-line.
[265 X 165.] Not coloured. On old paper, with large waterruark of the arms of an
Elector of Mentz, of the House of Bavaria. This must be Franz Ludwig, of the
Palatinate, who was Archbishop of Mentz, 1729-32. This date agrees very well with
that of a German inscription in fadedink, relating to Roveredo silk, on the back of the
sheet.
Purchased from Mr. Daniell, 1877.
This pair of woodcuts, hitherto undescribed, is interesting as an example of the
influence of the humanists on art at the beginuing of the German Renaissance. It is