DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0196
Division B.—Dotted Prints.
171
The print is a copy of the Crucifixion (Willsh., ii, p. 63, G. 30) hy the Master of
the Nuremberg Passion (Lehrs, Jahrb. d. Kgl. Preuss. Kunstsammlungen, sviii, 56, 2).
The attitude and drapery of all three figures are copied very closely, but the expression
of St. John is simplified, and he appears much younger than in the original. The copy
omits the nimbi, the hilly ground and the plants, but introduces the skull, which is not
in the original. A noticeable feature common to both is the cross distinctly marked on
both knees of Christ. This peculiarity also occurs on the dotted print, Schr. 2592,
St. Christopher, at Munich, which does not resemble the present engraving in other
respects, and on a woodcut, Schr. 739, the Trinity, at St. Gallen. It seems to be a
characteristic of the school of Cologne. Schr. attributes another dotted print, no. 2310,
to the same engraver. In this he follows W. u. Z. (no. 346). The diaper pattern is the
same in both. No. 348, according to W. u. Z., agreed with the present print (no. 347)
closely enough to be regarded as a copy of it, but did not retain the cross on the knees.
t THB CRUCIFIXION WITH THE VIRGIN AND ST. JOHN.
(Reproduction.)
Schr. 2319; W. u. Z. 326.
Photograph from the original in the von Lanna collection, Prague (Singer 17) from
the Weigeliana. For the relations of this print to the engravings by the Master of the
Banderoles aud the Master of St. Erasmus, and to the auon. woodcut Schr. 405 in the
B.M. collection, see the description of the latter (A 14).
Presented by Prof. Max Lehrs, 1898.
B 4 (18).
EIGLIT SUBJECTS FROM A SERIES OF THE PASSION.
Schr. 2302, etc.; W. u. Z. 338. W.—B 2.
The complete series of twenty subjects of the Passion, preceded by eight subjects
from the life of the Virgin (Schr. 2181, 250i>, 2188, 2192, 2199, 2210, 2214, 2432,
arranged hack to back in pairs in the order here given) exists only in a singie copy in
the Hof- und Staats-Bibliothek, Munich (Xyl. 49). Iu this copy the engravings are
printed hack to back, with the exception of the first and last of the series, the Entry
into Jerusalem, Schr. 2222, and the Last Judgment, Schr. 2408, which are printed each
on one side of a page, the other side remaining blank. Between each pair of subjects
is placed a page, printed on both sides with movable type (resembling that of Albrecht
Pfister of Bamberg, about 1460) relating to the second of the pair of subjects which
precedes it and the first of the pair whicli follows.
Besides the complete set at Munich, sufficient fragments of several other sets exist
to show that there were at least three different editions with text and one without text.
The priority of these cannot be established with certainty. According to Weigel, who
possessed two impressions without text (W. u. Z. 340, now at Nuremberg) in addition
to the set of eight with text on the back now to be described, the former are so superior
in point of clearness to the latter as to be properly described as proofs. The one im-
pression in the British Museum (W. u. Z. 339) with text on the back of a different
edition from the set of eight (though printed with the same type), also seems to be
earlier and clearer. The relation of either of these sets to the Munich set has not been
made clear, but a comparison of the facsimile given by Muther, B. I, i, pl. 1 of the
Resurrection in the Munich set with the British Museum impression (no. 7), shows the
iatter to be earlier, for the plato had been pieiced with four large irregular holes, which
cause a serious disfigurement, before the Munich impression was struck off.
We have then the following sets, in order not of priority but of completeness :
1. Twenty prints at Munich, back to back, with text on intermediate pages.
2. Eight prints in the Britishj Museum, with text in a different type on the
back of each print, referring, except in the case of the first, to the subject which
follows. These are in the same order as in the Munich edition, viz., Schr. 2302, 2416,
2324, 2474, 2364, 2424, 2376, 2386. The text on the back of Schr. 2302 (Christ bearing
the Cross), ptfi gcflrufiM liu Ijetltgfi | antlurj bujacr£ fiern tijcsu | crtfitc tfasi tia
getrurht tst mx | ctn inets’ tuecl) bntr tst gege | hen trer fratoen berantcc | etc., refers
to the subject of St. Veronica’s napkin, which in the Munich set is on the same leaf as
171
The print is a copy of the Crucifixion (Willsh., ii, p. 63, G. 30) hy the Master of
the Nuremberg Passion (Lehrs, Jahrb. d. Kgl. Preuss. Kunstsammlungen, sviii, 56, 2).
The attitude and drapery of all three figures are copied very closely, but the expression
of St. John is simplified, and he appears much younger than in the original. The copy
omits the nimbi, the hilly ground and the plants, but introduces the skull, which is not
in the original. A noticeable feature common to both is the cross distinctly marked on
both knees of Christ. This peculiarity also occurs on the dotted print, Schr. 2592,
St. Christopher, at Munich, which does not resemble the present engraving in other
respects, and on a woodcut, Schr. 739, the Trinity, at St. Gallen. It seems to be a
characteristic of the school of Cologne. Schr. attributes another dotted print, no. 2310,
to the same engraver. In this he follows W. u. Z. (no. 346). The diaper pattern is the
same in both. No. 348, according to W. u. Z., agreed with the present print (no. 347)
closely enough to be regarded as a copy of it, but did not retain the cross on the knees.
t THB CRUCIFIXION WITH THE VIRGIN AND ST. JOHN.
(Reproduction.)
Schr. 2319; W. u. Z. 326.
Photograph from the original in the von Lanna collection, Prague (Singer 17) from
the Weigeliana. For the relations of this print to the engravings by the Master of the
Banderoles aud the Master of St. Erasmus, and to the auon. woodcut Schr. 405 in the
B.M. collection, see the description of the latter (A 14).
Presented by Prof. Max Lehrs, 1898.
B 4 (18).
EIGLIT SUBJECTS FROM A SERIES OF THE PASSION.
Schr. 2302, etc.; W. u. Z. 338. W.—B 2.
The complete series of twenty subjects of the Passion, preceded by eight subjects
from the life of the Virgin (Schr. 2181, 250i>, 2188, 2192, 2199, 2210, 2214, 2432,
arranged hack to back in pairs in the order here given) exists only in a singie copy in
the Hof- und Staats-Bibliothek, Munich (Xyl. 49). Iu this copy the engravings are
printed hack to back, with the exception of the first and last of the series, the Entry
into Jerusalem, Schr. 2222, and the Last Judgment, Schr. 2408, which are printed each
on one side of a page, the other side remaining blank. Between each pair of subjects
is placed a page, printed on both sides with movable type (resembling that of Albrecht
Pfister of Bamberg, about 1460) relating to the second of the pair of subjects which
precedes it and the first of the pair whicli follows.
Besides the complete set at Munich, sufficient fragments of several other sets exist
to show that there were at least three different editions with text and one without text.
The priority of these cannot be established with certainty. According to Weigel, who
possessed two impressions without text (W. u. Z. 340, now at Nuremberg) in addition
to the set of eight with text on the back now to be described, the former are so superior
in point of clearness to the latter as to be properly described as proofs. The one im-
pression in the British Museum (W. u. Z. 339) with text on the back of a different
edition from the set of eight (though printed with the same type), also seems to be
earlier and clearer. The relation of either of these sets to the Munich set has not been
made clear, but a comparison of the facsimile given by Muther, B. I, i, pl. 1 of the
Resurrection in the Munich set with the British Museum impression (no. 7), shows the
iatter to be earlier, for the plato had been pieiced with four large irregular holes, which
cause a serious disfigurement, before the Munich impression was struck off.
We have then the following sets, in order not of priority but of completeness :
1. Twenty prints at Munich, back to back, with text on intermediate pages.
2. Eight prints in the Britishj Museum, with text in a different type on the
back of each print, referring, except in the case of the first, to the subject which
follows. These are in the same order as in the Munich edition, viz., Schr. 2302, 2416,
2324, 2474, 2364, 2424, 2376, 2386. The text on the back of Schr. 2302 (Christ bearing
the Cross), ptfi gcflrufiM liu Ijetltgfi | antlurj bujacr£ fiern tijcsu | crtfitc tfasi tia
getrurht tst mx | ctn inets’ tuecl) bntr tst gege | hen trer fratoen berantcc | etc., refers
to the subject of St. Veronica’s napkin, which in the Munich set is on the same leaf as