DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0212
184
Early German and Flemish Woodcuts.—Pa> t I.
used are vermilion, light red, light brown, olive green, and a bright yellowish green.
The border consists of a narrow and a broad blaek line, and an interval between them
which has been left white, except- in no. (2), where it has been coloured vermilion by
the rubricator. The MS. is written in a brownish-black ink, fifteen lines to the page,
with vermilion headings, and vermilion or blue initials. No watermark can be seen
on tlie cuts, but portions of three different marks—a pitcher, a Gothic p, and a tower
{or crown?) surmounted by a double quatrefoil ornament, can be secn on the paper of
the MS. The set was purchased from M. Tross. Paris, in 1861.
The culs have been relained in their present place, instead of being arranged
among the generally acknowledged woodcuts, merely for the sake of convenience.
(1.) Schr. 2541. St. Antony.
The Saint is seen to the knees, turned slightly to r., wearing a mantle,
tunic, and high cap. He has no nimbus. He holds a staff with Tau-
shaped head in his 1. hand, and supports an open book with his r. hand,
of which the little finger passes through the handle of a bell. St. Antony’s
fire is represented literally in flames wbich rise on either side. In the
background r. is a wattled fence, and beyond it a chapel on a rock.
Another steep rock with a tree growing out of it is to 1. of the Saint’s
head.
The cut is placed on the verso of fol. ccxcviii of thc MS. The antiphon, com-
mencing on the recto following the collect of Sl. Paul the Hermit, is concluded ou
the verso and followed by the collect of St. Antony.
(2.) Schr. 2622. Sr. Erasmus.
The Saint, naked but for a loin-cloth, is stretched on a plank, to
which his feet are tied. The plank is raised by smaller cross-pieces of
wood off the chequered floor, and the Saint’s arms are bound behind
him on the lower side of it. On the floor r. are his mitre and a crouching
dog. Beyond the plank rise two posts, wdiich carry a winch, on which
the intestines of the martyr are being wound as two executioners turn
the handles. A third stands in the background, and the Emperor
(Diocletian) watches the scene, pointing with his sceptre to Erasmus.
The hand of God in benediction is extended from a radiant cloud 1.
The background is a plain walh
The cut is placed on the recto of fol. ccclxix of the MS., which begins with the
heading, “ van sinte Ernsme martela' gebet.” The prayer itself, “ 0 lieere sinte Erasme
marl’ en busseop godsetc., is concluded on the verso and followed by a prayer to
■St. John the Baptist. At the foot of the recto is the signature I (cut).
(3.) Schr. 2691. St. Macarius.
The Saint, in episcopal vestments, without a nimbus, stands in a
garden bounded by a brick wall, with a wide stone coping, over which
two trees are seen. He holds a patriarchal cross in his 1. hand, and in
bus r. hand a stone and three nails. His name, mdfijA = VtUSS. in
black gothic letters, is placed against the sky on either side of his mitre.
The cut is placed on the verso of fol. ccxcvii of the MS. (tlie leaf immediately
preceding that which has the cut of St. Antony). The prayer on the recto is addressed
to the Virgin. The text on the verso relates not to St. Macarius but to St. Paul the
Hermit: “ paidus ierste heremit gebet. Suuer bistu Pauwels ierste li'amyt," etc.
Thirty saints of the name of Macarius are known to the Bollandists. This is
St. Mncarius of Armenia, Patriarch of Antiocli, f 1012. He resigned his see from
molives of humility, and went on a pilgrimage to Palestine, where lie attempted to
couvert Jews and Saracens. They threw him into prison, where they crucified hiui
on the ground, and laid a liot stone on his breast. Lhe nails sprang of their owu
Early German and Flemish Woodcuts.—Pa> t I.
used are vermilion, light red, light brown, olive green, and a bright yellowish green.
The border consists of a narrow and a broad blaek line, and an interval between them
which has been left white, except- in no. (2), where it has been coloured vermilion by
the rubricator. The MS. is written in a brownish-black ink, fifteen lines to the page,
with vermilion headings, and vermilion or blue initials. No watermark can be seen
on tlie cuts, but portions of three different marks—a pitcher, a Gothic p, and a tower
{or crown?) surmounted by a double quatrefoil ornament, can be secn on the paper of
the MS. The set was purchased from M. Tross. Paris, in 1861.
The culs have been relained in their present place, instead of being arranged
among the generally acknowledged woodcuts, merely for the sake of convenience.
(1.) Schr. 2541. St. Antony.
The Saint is seen to the knees, turned slightly to r., wearing a mantle,
tunic, and high cap. He has no nimbus. He holds a staff with Tau-
shaped head in his 1. hand, and supports an open book with his r. hand,
of which the little finger passes through the handle of a bell. St. Antony’s
fire is represented literally in flames wbich rise on either side. In the
background r. is a wattled fence, and beyond it a chapel on a rock.
Another steep rock with a tree growing out of it is to 1. of the Saint’s
head.
The cut is placed on the verso of fol. ccxcviii of thc MS. The antiphon, com-
mencing on the recto following the collect of Sl. Paul the Hermit, is concluded ou
the verso and followed by the collect of St. Antony.
(2.) Schr. 2622. Sr. Erasmus.
The Saint, naked but for a loin-cloth, is stretched on a plank, to
which his feet are tied. The plank is raised by smaller cross-pieces of
wood off the chequered floor, and the Saint’s arms are bound behind
him on the lower side of it. On the floor r. are his mitre and a crouching
dog. Beyond the plank rise two posts, wdiich carry a winch, on which
the intestines of the martyr are being wound as two executioners turn
the handles. A third stands in the background, and the Emperor
(Diocletian) watches the scene, pointing with his sceptre to Erasmus.
The hand of God in benediction is extended from a radiant cloud 1.
The background is a plain walh
The cut is placed on the recto of fol. ccclxix of the MS., which begins with the
heading, “ van sinte Ernsme martela' gebet.” The prayer itself, “ 0 lieere sinte Erasme
marl’ en busseop godsetc., is concluded on the verso and followed by a prayer to
■St. John the Baptist. At the foot of the recto is the signature I (cut).
(3.) Schr. 2691. St. Macarius.
The Saint, in episcopal vestments, without a nimbus, stands in a
garden bounded by a brick wall, with a wide stone coping, over which
two trees are seen. He holds a patriarchal cross in his 1. hand, and in
bus r. hand a stone and three nails. His name, mdfijA = VtUSS. in
black gothic letters, is placed against the sky on either side of his mitre.
The cut is placed on the verso of fol. ccxcvii of the MS. (tlie leaf immediately
preceding that which has the cut of St. Antony). The prayer on the recto is addressed
to the Virgin. The text on the verso relates not to St. Macarius but to St. Paul the
Hermit: “ paidus ierste heremit gebet. Suuer bistu Pauwels ierste li'amyt," etc.
Thirty saints of the name of Macarius are known to the Bollandists. This is
St. Mncarius of Armenia, Patriarch of Antiocli, f 1012. He resigned his see from
molives of humility, and went on a pilgrimage to Palestine, where lie attempted to
couvert Jews and Saracens. They threw him into prison, where they crucified hiui
on the ground, and laid a liot stone on his breast. Lhe nails sprang of their owu