DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0246
218
Early German and Flemish Woodcuts.—Part I.
D 7.
1483. Cut from Ulrich von Reicheuthal’s History of the Council of Constance, fol.
Augsburg, Anton Sorg, 1483. Ilain 5610 ; Mutherl74; Proctor 1690.
The subject of the cut, which is printed on leaf lviii verso of the book,
is the inspection of meat and drink during the conclave held in 1417,
while the council of Constance was sitting, for the election of a new
pope, Martin Y.
[204 x 133.] Colours : madder ved (faded), green, hlue. Two lines of German
text above the cut : Dise figur ist wie man deu herren in dem con | clauie ir essen vnd
triucken beschamvet ; aud two columns of text on the back (recto of the leaf).
Fiom tlie Bagford collection (Harl. MS. 5966,144). Transferred from the Dept. of
Printed Books, 1900.
D 8.
1488. Eight Hermits (W. u. Z. 198; Schr. 1773a; W.—D 109) from Leben der
Altvater, fol. Augsburg, Peter Berger, 1488. PIain8606; Muther 191; Proctor 1916.
The scene is a rocky landscape divided into two parts by a road which
winds down hill. At the top 1. St. Antony and St. Paul are conversing
at the cloor of a shed, while a raven descencls with a loaf in its bea-k. The
other hermits are represented singly to r. of the road. One is crossing a
bridge, another sits 1. under a tree, a third is clrawing water in a jug from
a pipe by the road-side, a fourth is telling his beads in a rocky cell, a fifth
mounts the road, and the sixth and last is seated in a hut at the top of
the hill. There is a wide single border.
[192 X 120.] Well preserved, with margin [10-13]. Colours : ligbt madder red,
ricb brown, dark brown, grey, dull yellow, dark green.
Purclrased at tbe Weigel sale, 1872.
Mutber (uo. 191) wrongly states that the cuts in tliis edition (Hain 8606) are tbe
same as tbose in Sorg’s eilhion of 1482. (Hain 8605 ; Proctor 1686). As a matter of
fact, tliey are entirely dilferent, and tbe frontispiece described above is a modification
of tbat in Sorg’s edition (not described by Mutber, no. 169), in wbicli there are only
six hermits [197 X 140]. Botb editious are in tlie Britisb Museutn.
D 9 (1-60).
Date unknown. Sixty cuts from an unrecognised book, printed in Schonsperger’s type,
about 1500.
The cuts [80 X 93-5] are from a religious romance or allegory, in
which the human soul (a fernale figure constantly represented in the later
cuts with a wreath or crown on her head) is spoken of as the Bride of
Christ. Other characters are Truth, Mercy, Wisclom, &c. In many of
the cuts the soul is seated on a throne, with hangings of a trefoil
pattern, and accompanied by women carrying a rod, a torch, a lantern
and trumpet, a mirror, and various musical instruments. Several of the
cuts illustrate the seven deadly sins and their punishment. A long series
of Biblical subjects, from the Old and ISfew Testaments, is inserted for the
sake of the moral lesson drawn from each for the benefit of the soul, who is
addressed throughout in the second person. The workmanship is unequal,
very bad at the worst, and never good. Many of the cuts, if not all, are
probably copies from older designs. The fragments preserved of the
German text are not sufficient to identify the book.
In the inventory of 1837.
Early German and Flemish Woodcuts.—Part I.
D 7.
1483. Cut from Ulrich von Reicheuthal’s History of the Council of Constance, fol.
Augsburg, Anton Sorg, 1483. Ilain 5610 ; Mutherl74; Proctor 1690.
The subject of the cut, which is printed on leaf lviii verso of the book,
is the inspection of meat and drink during the conclave held in 1417,
while the council of Constance was sitting, for the election of a new
pope, Martin Y.
[204 x 133.] Colours : madder ved (faded), green, hlue. Two lines of German
text above the cut : Dise figur ist wie man deu herren in dem con | clauie ir essen vnd
triucken beschamvet ; aud two columns of text on the back (recto of the leaf).
Fiom tlie Bagford collection (Harl. MS. 5966,144). Transferred from the Dept. of
Printed Books, 1900.
D 8.
1488. Eight Hermits (W. u. Z. 198; Schr. 1773a; W.—D 109) from Leben der
Altvater, fol. Augsburg, Peter Berger, 1488. PIain8606; Muther 191; Proctor 1916.
The scene is a rocky landscape divided into two parts by a road which
winds down hill. At the top 1. St. Antony and St. Paul are conversing
at the cloor of a shed, while a raven descencls with a loaf in its bea-k. The
other hermits are represented singly to r. of the road. One is crossing a
bridge, another sits 1. under a tree, a third is clrawing water in a jug from
a pipe by the road-side, a fourth is telling his beads in a rocky cell, a fifth
mounts the road, and the sixth and last is seated in a hut at the top of
the hill. There is a wide single border.
[192 X 120.] Well preserved, with margin [10-13]. Colours : ligbt madder red,
ricb brown, dark brown, grey, dull yellow, dark green.
Purclrased at tbe Weigel sale, 1872.
Mutber (uo. 191) wrongly states that the cuts in tliis edition (Hain 8606) are tbe
same as tbose in Sorg’s eilhion of 1482. (Hain 8605 ; Proctor 1686). As a matter of
fact, tliey are entirely dilferent, and tbe frontispiece described above is a modification
of tbat in Sorg’s edition (not described by Mutber, no. 169), in wbicli there are only
six hermits [197 X 140]. Botb editious are in tlie Britisb Museutn.
D 9 (1-60).
Date unknown. Sixty cuts from an unrecognised book, printed in Schonsperger’s type,
about 1500.
The cuts [80 X 93-5] are from a religious romance or allegory, in
which the human soul (a fernale figure constantly represented in the later
cuts with a wreath or crown on her head) is spoken of as the Bride of
Christ. Other characters are Truth, Mercy, Wisclom, &c. In many of
the cuts the soul is seated on a throne, with hangings of a trefoil
pattern, and accompanied by women carrying a rod, a torch, a lantern
and trumpet, a mirror, and various musical instruments. Several of the
cuts illustrate the seven deadly sins and their punishment. A long series
of Biblical subjects, from the Old and ISfew Testaments, is inserted for the
sake of the moral lesson drawn from each for the benefit of the soul, who is
addressed throughout in the second person. The workmanship is unequal,
very bad at the worst, and never good. Many of the cuts, if not all, are
probably copies from older designs. The fragments preserved of the
German text are not sufficient to identify the book.
In the inventory of 1837.