DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0176
Division A.—Single Woodeuts.
151
The initials t. j. 3. have generally been interpreted as a monogram, and Nagler,
Mon. iii, 803, has gone so far as to suggest the reading Hans Cronn zu Augsburg. His
only argument in favour of this suggestion rests on the fact that Hans Cronn was a
goldsmith and worker in metal, and may have engraved a plate in the crible style. But
as this print, though it does re3emble the dotted prints in some respects (the use of
white lines and of short white strokes cut with the knife on the dark shadows), is cer-
tainly printed from a wood-block, the argument falls to the ground. The date is early,
at any rate before 1500, for what looks at first sight like rather complicated cross-
hatching in the shadows is really white-line work on a black surface, more often met
with in metal-cuts, and not the crossing of black lines on a white surface.
A 148.
ST. CLABA.
Copy in reverse of B. vi, 246, 126.
St. Clara walks to 1., carrying a monstrance in both hands, in a paved
courtyard with a low wall. The country is seen through a gate, while
a church appears r. over the wall. The saint wears the monastic habit,
with the hood over her head, and has sandals on her feet. The pavement
is black, but the outlines of the stones are marked by broad vvhite lines.
There is no indication of sky.
[92 x 64.] Good impression, with margiu. Evidently a page from a book, though
there is no text on either side. The recto shows traces of the ink rubbed off the text on
the opposite page. The whole styleof the woodcut is Flemish. Watermark (fragment),
a shield, on which are a bull’s head and two rosettes, a cross over the shield.
Pivsented by Sir A. W. Franks, K.C.B., 1895.
151
The initials t. j. 3. have generally been interpreted as a monogram, and Nagler,
Mon. iii, 803, has gone so far as to suggest the reading Hans Cronn zu Augsburg. His
only argument in favour of this suggestion rests on the fact that Hans Cronn was a
goldsmith and worker in metal, and may have engraved a plate in the crible style. But
as this print, though it does re3emble the dotted prints in some respects (the use of
white lines and of short white strokes cut with the knife on the dark shadows), is cer-
tainly printed from a wood-block, the argument falls to the ground. The date is early,
at any rate before 1500, for what looks at first sight like rather complicated cross-
hatching in the shadows is really white-line work on a black surface, more often met
with in metal-cuts, and not the crossing of black lines on a white surface.
A 148.
ST. CLABA.
Copy in reverse of B. vi, 246, 126.
St. Clara walks to 1., carrying a monstrance in both hands, in a paved
courtyard with a low wall. The country is seen through a gate, while
a church appears r. over the wall. The saint wears the monastic habit,
with the hood over her head, and has sandals on her feet. The pavement
is black, but the outlines of the stones are marked by broad vvhite lines.
There is no indication of sky.
[92 x 64.] Good impression, with margiu. Evidently a page from a book, though
there is no text on either side. The recto shows traces of the ink rubbed off the text on
the opposite page. The whole styleof the woodcut is Flemish. Watermark (fragment),
a shield, on which are a bull’s head and two rosettes, a cross over the shield.
Pivsented by Sir A. W. Franks, K.C.B., 1895.