DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0193
168 Early German and Flemish Woodcuts.—Part I.
crowd is waiting to receive him, while a Jew in the foreground is strewing
his garment in the way, and another (Zaccheus) has climbed a tree on the
further side of the road. The Apostles follow on foot. They are led by
St. Peter, and the heads of four others are visible.
[124 x 89.]
(4.) Schr. 2228. The Purification of the Temple.
The temple is represented as a small building open at the sides, with
a low-pitched roof, supported on columns at the corners, and a parquetted
floor. Christ upsets the money-changer’s table with his 1. hand, and
raises a rod threateningly in his r. hand towards the owner, who is
escaping r. along with a man who leads an ox.
[124 x 89.]
Each of the four prints is enclosed hy a single black horder, which in no. (2) is
defective in the r. upper corner. It would seem tbat the whole corner of the plate, not
the border alone, was broken off before the impression was taken, for the irregular
hatching in black against a white background, by which the sky is suggested in all
four prints, is wanting in tliis corner. The plates have not been pierced with holes.
Most of the technical peculiarities of tlie process are here exemplified : the white dots
on the black ground, the hatching in white liues, alone or combined with dots, in the
half-tones, and the black lines on the high lights. Three ornamental stamps are
employed, viz., a fleur-de-lys on the robe of the woman of Samaria, a six-rayed star
with black centre on the robe of Christ in the second and third prints of the series, and
a small eye-shaped ornament with black centre on the hems of garments in all four
prints.
Yellow and green are the only colours employed, with the exception of carmine on
the foot of C’hrist in the third print.
The prints are placed two on a slieet, with an interval of 12 mm. between them. The
two sheets measure about 135 X 200 mm., and show signs of having been pasted into a
book. The paper is somewhat discoloured but in good preservation. MS. notes in Latin in a
hatid of about 1500 are written on the margins. No watermark is visible except a
fragment, seemingly of a bull’s head, at the bottom of the second sheet.
The dialect and the name of the artist seem to suggest the Lower Ehine as the
place of origin.
From the collection of Mr. John Malcolm of Poltalloch, purchased in 1895. Eepro-
ductions of all four prints are published by Schreiber, vol. vi, pl. xxxi.
t THE BETEAYAL OE CHEIST.
Schr. 2253. (Eeproduction.)
[103 X 77.] Photograph of the original in the Dresden Cabinet.
Presented by Dr. Max Lehrs, 1891.
B 2 (1-2).
TWO PEINTS FEOM A SEEIES OF THE PASSION.
(1.) Schr. 2280. Tiie Flagellation.
The scene is a chamber with a stone wall in the background, pierced
by two round-headed windows. The floor is paved in squares, each of
which is divided into two triangles, light and dark. The roof is sup-
ported by three columns. Christ stands on the base of the central
column, and is bound to it by three cords, one of which ties his wrists
crowd is waiting to receive him, while a Jew in the foreground is strewing
his garment in the way, and another (Zaccheus) has climbed a tree on the
further side of the road. The Apostles follow on foot. They are led by
St. Peter, and the heads of four others are visible.
[124 x 89.]
(4.) Schr. 2228. The Purification of the Temple.
The temple is represented as a small building open at the sides, with
a low-pitched roof, supported on columns at the corners, and a parquetted
floor. Christ upsets the money-changer’s table with his 1. hand, and
raises a rod threateningly in his r. hand towards the owner, who is
escaping r. along with a man who leads an ox.
[124 x 89.]
Each of the four prints is enclosed hy a single black horder, which in no. (2) is
defective in the r. upper corner. It would seem tbat the whole corner of the plate, not
the border alone, was broken off before the impression was taken, for the irregular
hatching in black against a white background, by which the sky is suggested in all
four prints, is wanting in tliis corner. The plates have not been pierced with holes.
Most of the technical peculiarities of tlie process are here exemplified : the white dots
on the black ground, the hatching in white liues, alone or combined with dots, in the
half-tones, and the black lines on the high lights. Three ornamental stamps are
employed, viz., a fleur-de-lys on the robe of the woman of Samaria, a six-rayed star
with black centre on the robe of Christ in the second and third prints of the series, and
a small eye-shaped ornament with black centre on the hems of garments in all four
prints.
Yellow and green are the only colours employed, with the exception of carmine on
the foot of C’hrist in the third print.
The prints are placed two on a slieet, with an interval of 12 mm. between them. The
two sheets measure about 135 X 200 mm., and show signs of having been pasted into a
book. The paper is somewhat discoloured but in good preservation. MS. notes in Latin in a
hatid of about 1500 are written on the margins. No watermark is visible except a
fragment, seemingly of a bull’s head, at the bottom of the second sheet.
The dialect and the name of the artist seem to suggest the Lower Ehine as the
place of origin.
From the collection of Mr. John Malcolm of Poltalloch, purchased in 1895. Eepro-
ductions of all four prints are published by Schreiber, vol. vi, pl. xxxi.
t THE BETEAYAL OE CHEIST.
Schr. 2253. (Eeproduction.)
[103 X 77.] Photograph of the original in the Dresden Cabinet.
Presented by Dr. Max Lehrs, 1891.
B 2 (1-2).
TWO PEINTS FEOM A SEEIES OF THE PASSION.
(1.) Schr. 2280. Tiie Flagellation.
The scene is a chamber with a stone wall in the background, pierced
by two round-headed windows. The floor is paved in squares, each of
which is divided into two triangles, light and dark. The roof is sup-
ported by three columns. Christ stands on the base of the central
column, and is bound to it by three cords, one of which ties his wrists