DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0194
Divi&ion B.—Dotted Prints.
169
and then passes round his waist, while the others bind his legs below the
knees and at the ankles. His body is turned slightly to L, but his head,
which is sunk between his shoulders as if he had no neck, is turned to r.
He has a floriated nimbus with double rim, and a loin-cloth. The two
men who are scourging him stand in exaggerated attitudes, one to 1.
holding a bundle of rods in either hand, the other to r. brandishing a
scourge of three lashes in his 1. hancl, while he plucks at Christ’s hair with
his r. hand. A third, wearing a cap, sits on the ground, fastening
together a fresh bundle of rocls, and drawing the cord tight with his
teeth. The border is composed of two white and two black lines.
[175-179 X 118.] Tkis print again exemplifies almost all the varieties of the-
technique. Three ornamental stamps are used, viz., a quatrefoil with black centre, a
four-rayed star with black centre, and a smaller white four-rayed star. Colours: green,
yellow, carmine, brown; margin [4x15] dark brown. The paper (without watermark)
is perforated by a number of minute holes, but is otherwise in good preservation.
(2.) Schr. 2385. Christ appearing to St. Mary Magdalen.
St. Mary Magdalen kneels 1. in the garden, holding the vase of oint-
ment in her r. hand and the lid in her 1. hand, before Christ, who stands
r. stretching his r. handtowards her, and holding in his 1. hand the spade
and a tall cross with the banner of the resurrection. Christ has a floriated
and rayed nimbus with a double rim, and is draped loosely in a cloak,
fastened across the throat by a strap, which leaves his breast and arms
arid his 1. leg exposed. The Magdalen has a rayed nimbus with double
rim, and a cloth over her head, from which her long hair escapes. She
wears a mantle and tunic. The open tomb is seen 1. in the side of a rock
on which two trees grow, and beyond a palisade which encloses the garden
two holy women are seen approaching in the distance. Farther oft' are
the spires of the city. A number of flowers and tufts of grass are grow-
ing in the garden, the ground of which is for the most part dotted. The
border is composed of a white and a black line.
[175 X 120.] No stamp has beeu used in this print except to decorate the cross on
the banner, where an ornament, apparently a rhomboid with a blaok dot in the centre,
is indistinctly visible, the effect being almost destroyed by the white lines subsequently
engraved across it. The sky is left white. The border is broken away for the space of
96 mm. at the top and 22 mm. on the r. side. Au examination of the r. side will show that
a large piece of the plate, and not the border only, must have been broken off before this
impression was taken, and the case is not analogous to a defect in the border of a wood-
block, as Schr. suggests (compare the note on Schr. 2218 above). The colouirst who
painted the margin brown drew the two missing lines of the borcler in that colour at
the same time. Colours: green, yellow, crimson iake, brown; margin [5-13] dark
brown. The paper is the same in quality and condition as that of the preceding print.
Schr. does not regard these two prints as companions, considering the date of the
first to be about 1470, and that of the other ten years later. There can be no doubt
that these two impressions, at least, were produced at the same time. The paper is the
same in both, and the colouring is also the same with the exception of the red, which is
of a deeper shade in the second because it has been covered with a gummy layer which
has preserved it from fading. This is the case also with the green. The dimensions
agree. In the more important matter of style the agreement is certainly not so close,
but considering the different nature of the two scenes represeuted, there is no difficulty
in supposing the same artist to have produced both. It would be legitimate to assume
an interval of time between their production. The differences are far less striking than
those between the earlier and later parts of the Great Passion of Diirer or of II. S.
Beham’s eight Passion woodcuts.
From the collection of Mr. John Malcolm of Poltalloch, purchased in 1895.
169
and then passes round his waist, while the others bind his legs below the
knees and at the ankles. His body is turned slightly to L, but his head,
which is sunk between his shoulders as if he had no neck, is turned to r.
He has a floriated nimbus with double rim, and a loin-cloth. The two
men who are scourging him stand in exaggerated attitudes, one to 1.
holding a bundle of rods in either hand, the other to r. brandishing a
scourge of three lashes in his 1. hancl, while he plucks at Christ’s hair with
his r. hand. A third, wearing a cap, sits on the ground, fastening
together a fresh bundle of rocls, and drawing the cord tight with his
teeth. The border is composed of two white and two black lines.
[175-179 X 118.] Tkis print again exemplifies almost all the varieties of the-
technique. Three ornamental stamps are used, viz., a quatrefoil with black centre, a
four-rayed star with black centre, and a smaller white four-rayed star. Colours: green,
yellow, carmine, brown; margin [4x15] dark brown. The paper (without watermark)
is perforated by a number of minute holes, but is otherwise in good preservation.
(2.) Schr. 2385. Christ appearing to St. Mary Magdalen.
St. Mary Magdalen kneels 1. in the garden, holding the vase of oint-
ment in her r. hand and the lid in her 1. hand, before Christ, who stands
r. stretching his r. handtowards her, and holding in his 1. hand the spade
and a tall cross with the banner of the resurrection. Christ has a floriated
and rayed nimbus with a double rim, and is draped loosely in a cloak,
fastened across the throat by a strap, which leaves his breast and arms
arid his 1. leg exposed. The Magdalen has a rayed nimbus with double
rim, and a cloth over her head, from which her long hair escapes. She
wears a mantle and tunic. The open tomb is seen 1. in the side of a rock
on which two trees grow, and beyond a palisade which encloses the garden
two holy women are seen approaching in the distance. Farther oft' are
the spires of the city. A number of flowers and tufts of grass are grow-
ing in the garden, the ground of which is for the most part dotted. The
border is composed of a white and a black line.
[175 X 120.] No stamp has beeu used in this print except to decorate the cross on
the banner, where an ornament, apparently a rhomboid with a blaok dot in the centre,
is indistinctly visible, the effect being almost destroyed by the white lines subsequently
engraved across it. The sky is left white. The border is broken away for the space of
96 mm. at the top and 22 mm. on the r. side. Au examination of the r. side will show that
a large piece of the plate, and not the border only, must have been broken off before this
impression was taken, and the case is not analogous to a defect in the border of a wood-
block, as Schr. suggests (compare the note on Schr. 2218 above). The colouirst who
painted the margin brown drew the two missing lines of the borcler in that colour at
the same time. Colours: green, yellow, crimson iake, brown; margin [5-13] dark
brown. The paper is the same in quality and condition as that of the preceding print.
Schr. does not regard these two prints as companions, considering the date of the
first to be about 1470, and that of the other ten years later. There can be no doubt
that these two impressions, at least, were produced at the same time. The paper is the
same in both, and the colouring is also the same with the exception of the red, which is
of a deeper shade in the second because it has been covered with a gummy layer which
has preserved it from fading. This is the case also with the green. The dimensions
agree. In the more important matter of style the agreement is certainly not so close,
but considering the different nature of the two scenes represeuted, there is no difficulty
in supposing the same artist to have produced both. It would be legitimate to assume
an interval of time between their production. The differences are far less striking than
those between the earlier and later parts of the Great Passion of Diirer or of II. S.
Beham’s eight Passion woodcuts.
From the collection of Mr. John Malcolm of Poltalloch, purchased in 1895.