DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0197
172 JEarly German and Flemish Wocdcuts.—Part I.
Schr. 2273, Pilate waBhing his hands. The position of this text is accountecl for hy
the fact noticed by Weigel that on this leaf tlie text is printed on the recto, the illus-
trations on the verso, whereas in the remainder of the series the converse is the case.
The sudarium subject consequently stood on the verso of the preceding leaf, which
is lost. Weigel explains how the first half of the book was made up with the text
following the subject, the second half with the suhject following the text. The tran-
sition must have been formed by a leaf with text on both sides, each facing the cut
to which it referred, the recto heing opposite to Christ bearing the Cross, and the verso
opposite to Christ being nailed to the Cross.
3. With text on the back, different from either of tliese editions: one cut in the
British Museum (Schr. 2324), and two at Dresden (Schr. 2253, 2474), perhaps from the
same edition as the cut in the British Museum.
4. Without printed text: three at Paris (Schr. 2243, 2302,1 2442 J) with MS. at the
top; three at Xuremberg, belonging to two different sets (Schr. 2376, 2424 without
MS., 2262 with MS. on the hack); one at Detroit, U.S.A. (Schr. 2324) with MS. on the
back.2
5. Lastly.in the Bodleian Library at Oxford are two (Sclir. 2232, 2376) printed hack
to back as at Munich, but not one of the pairs which occur in the Munich set, and one
(Schr. 2243) without any text, but again not one of those which is without text at
Munich.
The eight subjects now to be described are as follows:—
(1.) Schr. 2302. Chbist beabing the Ceos6.
Christ walks to r. carrying the cross over his 1. shoulder. He
has a cord round his waist by which a soldier leads him. Simon of
Cyrene follows, holding the lower end of the cross. Another soldier in
armour on the farther side of the cross strikes Christ on the neck with
the handle of a hammer. In the background are two trees, 1. and r,, each
on a rock, and the space between them is filled by a wavy pattern of
leaves and flowers, each of which is composed of seven dots.
[101 x 75.] Colours: verdigris green, madder red, cinnabar, yellow. Watermark,
a fragment, which may form part either of a bunch of grapes or of the Augsburg arms.
A similar fragment occurs on tlie last of the eiglit prints, but the whole is nowhere to
be seen.
The text on the back is correctly given hy Schr. except one word, “ rrqutfkung,'’
in which read i) for k.
(2.) Schr. 2416. Cheist being nailed to the Ceoss.
The cross is laid on the ground, which is covered with grass and
flowers. Christ is stretched upon it with his head to r., and nails are
being hammered by three men at once through his hands and feet. A few
rocks are seen beyond the grass, and on tlie black background is the same
pattern in white as in the preceding print.
[99 X 74.] Colours : the same. No watermark. The text on the back is tke
1 M. Ilenri Delaborde made an unsuccessful attempt (Gciz. des Beaux-Arts, 1S69, i,
p. 238) to assign to tliese two prints the date 1406, hased on the supposed evidence of a
calendar in the MS. to which they belong. For the arguments against this early date
see Dr. F. Lippmann, in JRepertorium f. Kunstwissenseliaft, i, 247. To these arguments
may be added the fact that one of the series, the Kesurrection, is a copy from an
engraving of the school of the Master of the Playing-cards (see below), while three
others (Sclrr. 2222, 2232, 2253), are copied in reverse from aPassion series(W. u. Z. 419,
now at Dresden), whicli Prof. Lehrs believes to he early engravings (befure 1446) by
that master himself (Jahrb. der Kgl. Preuss. Kunstsammlungen, xviii, 50).
2 Schr., Centralbl. f. Bibliotliekswesen, 1895, xii, 225, speaks of the two impressions
with MS. on the hack as heing relics of a MS. edition of the book, with metai-cuts
inserted, wkich preceded the printed edition. It seems hardly safe to assume their
priority of date to the latter, unless the quality of the impressions is also in favour of
this.
Schr. 2273, Pilate waBhing his hands. The position of this text is accountecl for hy
the fact noticed by Weigel that on this leaf tlie text is printed on the recto, the illus-
trations on the verso, whereas in the remainder of the series the converse is the case.
The sudarium subject consequently stood on the verso of the preceding leaf, which
is lost. Weigel explains how the first half of the book was made up with the text
following the subject, the second half with the suhject following the text. The tran-
sition must have been formed by a leaf with text on both sides, each facing the cut
to which it referred, the recto heing opposite to Christ bearing the Cross, and the verso
opposite to Christ being nailed to the Cross.
3. With text on the back, different from either of tliese editions: one cut in the
British Museum (Schr. 2324), and two at Dresden (Schr. 2253, 2474), perhaps from the
same edition as the cut in the British Museum.
4. Without printed text: three at Paris (Schr. 2243, 2302,1 2442 J) with MS. at the
top; three at Xuremberg, belonging to two different sets (Schr. 2376, 2424 without
MS., 2262 with MS. on the hack); one at Detroit, U.S.A. (Schr. 2324) with MS. on the
back.2
5. Lastly.in the Bodleian Library at Oxford are two (Sclir. 2232, 2376) printed hack
to back as at Munich, but not one of the pairs which occur in the Munich set, and one
(Schr. 2243) without any text, but again not one of those which is without text at
Munich.
The eight subjects now to be described are as follows:—
(1.) Schr. 2302. Chbist beabing the Ceos6.
Christ walks to r. carrying the cross over his 1. shoulder. He
has a cord round his waist by which a soldier leads him. Simon of
Cyrene follows, holding the lower end of the cross. Another soldier in
armour on the farther side of the cross strikes Christ on the neck with
the handle of a hammer. In the background are two trees, 1. and r,, each
on a rock, and the space between them is filled by a wavy pattern of
leaves and flowers, each of which is composed of seven dots.
[101 x 75.] Colours: verdigris green, madder red, cinnabar, yellow. Watermark,
a fragment, which may form part either of a bunch of grapes or of the Augsburg arms.
A similar fragment occurs on tlie last of the eiglit prints, but the whole is nowhere to
be seen.
The text on the back is correctly given hy Schr. except one word, “ rrqutfkung,'’
in which read i) for k.
(2.) Schr. 2416. Cheist being nailed to the Ceoss.
The cross is laid on the ground, which is covered with grass and
flowers. Christ is stretched upon it with his head to r., and nails are
being hammered by three men at once through his hands and feet. A few
rocks are seen beyond the grass, and on tlie black background is the same
pattern in white as in the preceding print.
[99 X 74.] Colours : the same. No watermark. The text on the back is tke
1 M. Ilenri Delaborde made an unsuccessful attempt (Gciz. des Beaux-Arts, 1S69, i,
p. 238) to assign to tliese two prints the date 1406, hased on the supposed evidence of a
calendar in the MS. to which they belong. For the arguments against this early date
see Dr. F. Lippmann, in JRepertorium f. Kunstwissenseliaft, i, 247. To these arguments
may be added the fact that one of the series, the Kesurrection, is a copy from an
engraving of the school of the Master of the Playing-cards (see below), while three
others (Sclrr. 2222, 2232, 2253), are copied in reverse from aPassion series(W. u. Z. 419,
now at Dresden), whicli Prof. Lehrs believes to he early engravings (befure 1446) by
that master himself (Jahrb. der Kgl. Preuss. Kunstsammlungen, xviii, 50).
2 Schr., Centralbl. f. Bibliotliekswesen, 1895, xii, 225, speaks of the two impressions
with MS. on the hack as heing relics of a MS. edition of the book, with metai-cuts
inserted, wkich preceded the printed edition. It seems hardly safe to assume their
priority of date to the latter, unless the quality of the impressions is also in favour of
this.