DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0187
162
Early German and Flerrrish Woodcuts.—Part I.
Dotted prints
as book-
illustrations.
AtBamberg(?)
At Cologne.
local usage. For instance, there is little difference in colouring to be
observed between tlie prints produced on the Lower Ehine and those
of South German origin. There is a certain scheme of colouring,
confined to vermilion, shades of yellow, yellowish brown and
yellowish green, which is characteristic of the JSTetherlands, though
not the only scheme in use there, and does not occur in South
Germany (for instances, see the series Schr. 2541 and eight others,
from a Flemish MS., also St. Francis, Schr. 2629, and St. George,
Schr. 2639, probably produced at Cologne, and compare the coloured
woodcuts in the copy of Ludolplius de Saxonia, “ Leven Jhesu Christi,’,
Zwolle, 1495, in this Dept.). The colours are usually hght; pink,
cinnabar or madder red (often varnished), pale yellow, light shades
of brown and blueish or yellowish green are the prevailing tints;
vermilion and ultramarine blue are used more sparingly; gold and
silver are not apphed.
The “ clotted ” prints were very seldom used as illustrations to
printed books, owing, perhaps, to tlie difficulty of printing from metal
plates in connection with type. As we have seen, they were quite
commonly fixed to a wood-block before printing, even when printed
separately, and for the purpose of book illustration it was much more
simple to use wood-blocks alone. By far the most important example
of a printed book with crible illustrations is the unique “ Seven Joys
of Our Lady,” with eight illustrations, fohowed by a separate work,
the “ Passion of Christ,” with twenty illustrations, in the public library
at Munich (see Schr. 2500). This is thought to have been printed
about 1460, and the type is said to resemble that of Albrecht Pfister
of Bamberg. Tlie dialect of the text is Bavarian. Our own collection
contains eight leaves of another (probably earlier) edition of the
“ Passion,” printed with a type which is certainly not Pfister’s, but
cannot be identified, and a single leaf of a third edition, printed
with the same type as the eight leaves, but with differences in
orthograpliy (for full particulars see under B 4, Schr. 2302).
Another “ Passion ” resembling this, which was in the Weigel
collection, exists in two states, both incomplete, tlie earlier
impressions, fifteen in number, having manuscript on the back,
wliile the later, of which only six remain, have xylographic text,
which does not occur elsewhere in connection with tlie maniere
criblee. Otlier instances of printed books thus illustrated are to
be found among the productions of the Cologne presses, for the
most part undated, between 1470 and 1500. A series of 14
“ dotted ” prints, together with 24 bad woodcuts [65 X 45 mm.], is to
be found in Bertoldus, “ Horalogiu Deuotionis,” 8vo (Cologne, Ulrich
Early German and Flerrrish Woodcuts.—Part I.
Dotted prints
as book-
illustrations.
AtBamberg(?)
At Cologne.
local usage. For instance, there is little difference in colouring to be
observed between tlie prints produced on the Lower Ehine and those
of South German origin. There is a certain scheme of colouring,
confined to vermilion, shades of yellow, yellowish brown and
yellowish green, which is characteristic of the JSTetherlands, though
not the only scheme in use there, and does not occur in South
Germany (for instances, see the series Schr. 2541 and eight others,
from a Flemish MS., also St. Francis, Schr. 2629, and St. George,
Schr. 2639, probably produced at Cologne, and compare the coloured
woodcuts in the copy of Ludolplius de Saxonia, “ Leven Jhesu Christi,’,
Zwolle, 1495, in this Dept.). The colours are usually hght; pink,
cinnabar or madder red (often varnished), pale yellow, light shades
of brown and blueish or yellowish green are the prevailing tints;
vermilion and ultramarine blue are used more sparingly; gold and
silver are not apphed.
The “ clotted ” prints were very seldom used as illustrations to
printed books, owing, perhaps, to tlie difficulty of printing from metal
plates in connection with type. As we have seen, they were quite
commonly fixed to a wood-block before printing, even when printed
separately, and for the purpose of book illustration it was much more
simple to use wood-blocks alone. By far the most important example
of a printed book with crible illustrations is the unique “ Seven Joys
of Our Lady,” with eight illustrations, fohowed by a separate work,
the “ Passion of Christ,” with twenty illustrations, in the public library
at Munich (see Schr. 2500). This is thought to have been printed
about 1460, and the type is said to resemble that of Albrecht Pfister
of Bamberg. Tlie dialect of the text is Bavarian. Our own collection
contains eight leaves of another (probably earlier) edition of the
“ Passion,” printed with a type which is certainly not Pfister’s, but
cannot be identified, and a single leaf of a third edition, printed
with the same type as the eight leaves, but with differences in
orthograpliy (for full particulars see under B 4, Schr. 2302).
Another “ Passion ” resembling this, which was in the Weigel
collection, exists in two states, both incomplete, tlie earlier
impressions, fifteen in number, having manuscript on the back,
wliile the later, of which only six remain, have xylographic text,
which does not occur elsewhere in connection with tlie maniere
criblee. Otlier instances of printed books thus illustrated are to
be found among the productions of the Cologne presses, for the
most part undated, between 1470 and 1500. A series of 14
“ dotted ” prints, together with 24 bad woodcuts [65 X 45 mm.], is to
be found in Bertoldus, “ Horalogiu Deuotionis,” 8vo (Cologne, Ulrich