DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0272
241
Scliool of Nuremberg. XV Gentury.
On Wolgemut’s woodcuts the following literature may be profit-
ably consultecl
M. Thausing, “ Albert Diirer.” English translation. Lonclon, 1882,
i, 65-8.
R. Muther, “ Die deutsche Biicherillustration.” Munich, 1884,
i, 57-60.
R. Yischer, “ Studien zur Kunstgeschichte.” Stuttgart, 1886, 314-6.
S. Colvin, “ Eine Zeichnung von Michael Wolgemut.” Jahrbuch,
Berlin, 1886, vii, 98.
Y. von Loga, “ Die Staclteansichten in Hartman Schedel’s Welt-
chronik.” Ibid, 1888, ix, 93, 184.
H. Stegmann, “ Ueber das Leben Michel Wolgemut’s.” Hepertorium,
1890, xiii, 60.
H. Thode, “ Die Malerschule von Niirnberg.” Frankfurt-a.-M., 1891,
125, 153-7, 181-2.
C. von Liitzow, “ Geschichte des deutschen Kupferstiches uncl Holz-
schnittes.” Berlin, 1889, 74-80.
C. Ephrussi, “ Etude sur la Chronique de Nuremberg de Hartmann
Schedel.” Paris, 1894.
Y. v. Loga, “ Beitrage zum Holzschnittwerk Micliel Wolgemut’s.”
Jcihrbuch, Berlin, 1895, xvi, 224.
H. Stegmann, “ Die Handzeichnungen der Manuskripte der
Schedelschen Weltchronik.” Mitth. d. Germ. Mus., Nuremberg,
1895, 115.
I. Der Schatzbehalter.
(Der scbrein od’ scbatzbebalter der waren reicbtumer des hails
vn der ewige seligkeit, Nurnberg, A. Koberger, 18
Nov. 1491. Fol. Hain 14507; Mutber 423. A perfect copy
in Dept. of Printed Books, Proctor 2070.)
The cuts only, without the text [253 x 177], coloured, ninety-one in
number (in the complete book there are ninety-six, five subjects being
repeated). This set of the cuts was made up by a German collector
from two copies of the book, duplicates being employed to secure a uniform
arrangement on one sicle of the leaf, whereas the cuts in the book itself
are often printed back to back.
Provenance not recorded.
The cuts are not signed,1 nor is their authorship mentioned in the
text, but they have always been attributed to Wolgemut on the strength
of their resemhiance to his pictures and to the cuts in Schedel’s Chronicle,
which are certified as his work by the colophon.2 Some of Wolgemut’s
1 Tlie ornamental W wliicli appears on banners in cuts 19, 27, 48, 58, 73 and 80, has
been. interpreted by Thausing and Mutlier as Wolgemut’s signature, but this explana-
tion is very improbabie, especialiy as in no. 80 the letters A and Z are also introduced.
" Thode, however, nscribes cuts 41, 53,57, 60, 84 and 85, among others, to Pleydenwurff.
R
Scliool of Nuremberg. XV Gentury.
On Wolgemut’s woodcuts the following literature may be profit-
ably consultecl
M. Thausing, “ Albert Diirer.” English translation. Lonclon, 1882,
i, 65-8.
R. Muther, “ Die deutsche Biicherillustration.” Munich, 1884,
i, 57-60.
R. Yischer, “ Studien zur Kunstgeschichte.” Stuttgart, 1886, 314-6.
S. Colvin, “ Eine Zeichnung von Michael Wolgemut.” Jahrbuch,
Berlin, 1886, vii, 98.
Y. von Loga, “ Die Staclteansichten in Hartman Schedel’s Welt-
chronik.” Ibid, 1888, ix, 93, 184.
H. Stegmann, “ Ueber das Leben Michel Wolgemut’s.” Hepertorium,
1890, xiii, 60.
H. Thode, “ Die Malerschule von Niirnberg.” Frankfurt-a.-M., 1891,
125, 153-7, 181-2.
C. von Liitzow, “ Geschichte des deutschen Kupferstiches uncl Holz-
schnittes.” Berlin, 1889, 74-80.
C. Ephrussi, “ Etude sur la Chronique de Nuremberg de Hartmann
Schedel.” Paris, 1894.
Y. v. Loga, “ Beitrage zum Holzschnittwerk Micliel Wolgemut’s.”
Jcihrbuch, Berlin, 1895, xvi, 224.
H. Stegmann, “ Die Handzeichnungen der Manuskripte der
Schedelschen Weltchronik.” Mitth. d. Germ. Mus., Nuremberg,
1895, 115.
I. Der Schatzbehalter.
(Der scbrein od’ scbatzbebalter der waren reicbtumer des hails
vn der ewige seligkeit, Nurnberg, A. Koberger, 18
Nov. 1491. Fol. Hain 14507; Mutber 423. A perfect copy
in Dept. of Printed Books, Proctor 2070.)
The cuts only, without the text [253 x 177], coloured, ninety-one in
number (in the complete book there are ninety-six, five subjects being
repeated). This set of the cuts was made up by a German collector
from two copies of the book, duplicates being employed to secure a uniform
arrangement on one sicle of the leaf, whereas the cuts in the book itself
are often printed back to back.
Provenance not recorded.
The cuts are not signed,1 nor is their authorship mentioned in the
text, but they have always been attributed to Wolgemut on the strength
of their resemhiance to his pictures and to the cuts in Schedel’s Chronicle,
which are certified as his work by the colophon.2 Some of Wolgemut’s
1 Tlie ornamental W wliicli appears on banners in cuts 19, 27, 48, 58, 73 and 80, has
been. interpreted by Thausing and Mutlier as Wolgemut’s signature, but this explana-
tion is very improbabie, especialiy as in no. 80 the letters A and Z are also introduced.
" Thode, however, nscribes cuts 41, 53,57, 60, 84 and 85, among others, to Pleydenwurff.
R