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https://doi.org/10.11588/diglit.28460#0273
242 Early German ancl Flemish Woocleuts.—Part 1.
original sketches for tliese compositions appear to be preservecl in a
sketch-book belonging to Herr L. Rosenthal, of Munich (Catalogue 90,
1892, no. 4. See also Y. v. Loga, JaJirbuch, xvi, 229-232). This book
contains 107 drawings, outlined with the pen or brush in bistre, and
finishecl in water-colours, the majority of which seem to be by the same
hand, though many have been disfigured by later additions. Seven of
these drawings stancl in such close relation to the corresponding designs
in the Schatzbehalter that they must be regarded as sketches for the
woodcuts, though not carried out in sufiicient cletail to serve directly as
pattei’ns for the wood-engraver. The subjects of which the sketches exist
are the following ; 1, 2, 3, 4 (combining two drawings), 23 ancl 66. There
are also drawings in partial agreement with cuts 32 ancl 36. The wood-
cut no. 2 is reproduced with the drawing beside it, JaJirbuch, xvi, 230.
The writer of the article gives goocl reasons for believing that the drawings
are prior to the woodcuts, not copies from them.
The cuts are introduced. by two large hands, on which are the
numbers i-c, alluding to the hundred “ Gegenwiirff ” or contrasts in the
attributes, the life and sufferings of our Lord, which are the subject
of the text. Then follow subjects from tlie Old and hTew Testaments,
the order of whicli (as the author admits, fol. ad. i, v.) appears arbi-
trary when viewed apart from the study of the text. These are
varied occasionally by allegorical designs.
(1) The Trinity. The action of the principal figures suggests the
eternal purpose of the Father to exalt the Son, and tliat of
the Son to suffer for mankind.
Tke compositiou is adapted and enriched from the concluding cut of
the edition of the Ars Moriendi blockbook preserved in the Bihliotheque
Nationale, Paris, published in facsimile by Adam Pilinski, Paris, 1883.
(2) God tlre Father announcing to the angels, on their creation,
the future Incarnation and Passion of the Son, The good
angels kneel in adoration, tlie evil angels stand in rebellion.
(3) The fall of Lucifer and the rebel angels.
(4) The creation of Eve and the Fall of Man.
(5) God promising to Abraham that his seed shall be as the stars
in heaven. The divided beasts and the smoking furnace
(Gen. xv).
(6) Jacob and his sons presented by Joseph to Pharaoh.
(7) The Vision of Daniel; tlie Winds, the Four Beasts, the
Ancient of' Days, the Son of Man (Dan. vii).
(8) Daniel accused before Darius and cast into the lions’ den.
(9) The stoning of Zechariah, the son of Jehoiada, by order of
Joash (2 Chron. xxiv, 20-22). In the background Isaiah is
being sawn asunder.
original sketches for tliese compositions appear to be preservecl in a
sketch-book belonging to Herr L. Rosenthal, of Munich (Catalogue 90,
1892, no. 4. See also Y. v. Loga, JaJirbuch, xvi, 229-232). This book
contains 107 drawings, outlined with the pen or brush in bistre, and
finishecl in water-colours, the majority of which seem to be by the same
hand, though many have been disfigured by later additions. Seven of
these drawings stancl in such close relation to the corresponding designs
in the Schatzbehalter that they must be regarded as sketches for the
woodcuts, though not carried out in sufiicient cletail to serve directly as
pattei’ns for the wood-engraver. The subjects of which the sketches exist
are the following ; 1, 2, 3, 4 (combining two drawings), 23 ancl 66. There
are also drawings in partial agreement with cuts 32 ancl 36. The wood-
cut no. 2 is reproduced with the drawing beside it, JaJirbuch, xvi, 230.
The writer of the article gives goocl reasons for believing that the drawings
are prior to the woodcuts, not copies from them.
The cuts are introduced. by two large hands, on which are the
numbers i-c, alluding to the hundred “ Gegenwiirff ” or contrasts in the
attributes, the life and sufferings of our Lord, which are the subject
of the text. Then follow subjects from tlie Old and hTew Testaments,
the order of whicli (as the author admits, fol. ad. i, v.) appears arbi-
trary when viewed apart from the study of the text. These are
varied occasionally by allegorical designs.
(1) The Trinity. The action of the principal figures suggests the
eternal purpose of the Father to exalt the Son, and tliat of
the Son to suffer for mankind.
Tke compositiou is adapted and enriched from the concluding cut of
the edition of the Ars Moriendi blockbook preserved in the Bihliotheque
Nationale, Paris, published in facsimile by Adam Pilinski, Paris, 1883.
(2) God tlre Father announcing to the angels, on their creation,
the future Incarnation and Passion of the Son, The good
angels kneel in adoration, tlie evil angels stand in rebellion.
(3) The fall of Lucifer and the rebel angels.
(4) The creation of Eve and the Fall of Man.
(5) God promising to Abraham that his seed shall be as the stars
in heaven. The divided beasts and the smoking furnace
(Gen. xv).
(6) Jacob and his sons presented by Joseph to Pharaoh.
(7) The Vision of Daniel; tlie Winds, the Four Beasts, the
Ancient of' Days, the Son of Man (Dan. vii).
(8) Daniel accused before Darius and cast into the lions’ den.
(9) The stoning of Zechariah, the son of Jehoiada, by order of
Joash (2 Chron. xxiv, 20-22). In the background Isaiah is
being sawn asunder.