DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0286
Part II.—Introduetion.
255
white or golcl. The black outline, often dispensecl with in Italian
woodcnts, is almost invariable in those of G-erman origin. I can
recall only two cases in which it is not used—Burgkmair’s portrait of
Hans Paumgartner ancl a rare Crucifixion by Wechtlin; in both of
these three blocks are used, ancl they are printed in three different
shades of tlie same colour;1 but, even so, tlrere is a block which
gives some of the main outlines, though it is printed in blue or
brown instead of black, whereas some of the chiaroscuro prints of
Ugo da Carpi are from tone-blocks only, with no line at all.
The chiaroscuro process was first invented in Germany. The
earliest record of its use in Italy that we possess is a letter addressecl
by Ugo da Carpi to the Doge ancl Senate of Yenice on 24 July,
1516, in which he claims the invention as his own and demands a
privilege for its protection. The first date on an Italian chiaroscuro
is 1518.2 The first indisputable clate on a German chiaroscuro of tlie
normal kind is 1508.3 That date corresponcls with the extant corre-
spondence quotecl by Herberger,4 in whicli Peutinger, writing on
24 September, 1508, to the Elector, Erederick the Wise, says that
in tlie previous year (1507) the Elector’s Chamberlain, Degenhart
Pfeffinger, liad sent him “knights in armour, of gold ancl silver^
prepared by Your Grace’s painter witli the press,” 6 and challenged
him to get the same kincl of work clone at Augsburg; he has now
succeeded in this, ancl sends a specimen of his kniglrts printed in
gold and silver on vellum for the Elector’s approval. He writes to
the same effect on September 25th, to Duke George of Saxony.
The fortunate circumstance tliat specimens of these “ kurisser,”
both by the Saxon and the Augsburg artists, are preserved, enables
us to judge of their appearance and the manner m which they were
produced, Of Cranach’s work, whicli is proved by Peutinger’s letter
to be the earlier (1507), we have one specimen, St. George, B. 65,
extant in two impressions, at London and Dresden, The St, George
1 An imitation, as Dr, Lippmami lias observed (Jalirb. xvi, 139), of pamting in
.qrisaille. This is perhaps tbe new style of printing, “ auf Damast Art,” mentioned by
bchonsperger in a letter to the Emperor, and subsequently claimed by Jost de Negker
(27 October, 1512) as entirely his own invention (Herberger. op. cit. p, 32, note 101)-
2 P. vi, 208-210,
? Burgkmair’s St. George, B. 23, dated m.d.yiii, reproduced in Lippmann’s 25 En-
gravings and Woodcuts by Old Masters,” viii, 42, and the same artist’s portrait of'
Maximilian I, B. 32, dated 1508, reproduced in the Oppermann sale-catalogue (Amsler
and Ruthardt, Berlin, 1882), no. 304. The latter impression is now in the collection of
Baron E. de Eothschild, Paris ; a similar impression in brownish green, with the
original date, was sold at Gutekunst’s auotion, Stuttgart, May, 1902, no. 196. An
impression of the outliue-block alone, with the original date, is in the Munich
Cabinet.
4 Op. cit. p. 26, notes 81, 82.
3 “ Kurisser von Gold vnnd Sylber durch E. f. G. maler mit dem Truck gefertiget.”
The outline-'
block more
constantly
used in Ger-
many than in
Italy.
The process
invented iu
Germany.
Earliest dated
priuts.
Documents.
Extant speci-
meus of the
earliest kind
of chiaroscuro
as produced
at Witteu-
berg aud
Augsburg.
255
white or golcl. The black outline, often dispensecl with in Italian
woodcnts, is almost invariable in those of G-erman origin. I can
recall only two cases in which it is not used—Burgkmair’s portrait of
Hans Paumgartner ancl a rare Crucifixion by Wechtlin; in both of
these three blocks are used, ancl they are printed in three different
shades of tlie same colour;1 but, even so, tlrere is a block which
gives some of the main outlines, though it is printed in blue or
brown instead of black, whereas some of the chiaroscuro prints of
Ugo da Carpi are from tone-blocks only, with no line at all.
The chiaroscuro process was first invented in Germany. The
earliest record of its use in Italy that we possess is a letter addressecl
by Ugo da Carpi to the Doge ancl Senate of Yenice on 24 July,
1516, in which he claims the invention as his own and demands a
privilege for its protection. The first date on an Italian chiaroscuro
is 1518.2 The first indisputable clate on a German chiaroscuro of tlie
normal kind is 1508.3 That date corresponcls with the extant corre-
spondence quotecl by Herberger,4 in whicli Peutinger, writing on
24 September, 1508, to the Elector, Erederick the Wise, says that
in tlie previous year (1507) the Elector’s Chamberlain, Degenhart
Pfeffinger, liad sent him “knights in armour, of gold ancl silver^
prepared by Your Grace’s painter witli the press,” 6 and challenged
him to get the same kincl of work clone at Augsburg; he has now
succeeded in this, ancl sends a specimen of his kniglrts printed in
gold and silver on vellum for the Elector’s approval. He writes to
the same effect on September 25th, to Duke George of Saxony.
The fortunate circumstance tliat specimens of these “ kurisser,”
both by the Saxon and the Augsburg artists, are preserved, enables
us to judge of their appearance and the manner m which they were
produced, Of Cranach’s work, whicli is proved by Peutinger’s letter
to be the earlier (1507), we have one specimen, St. George, B. 65,
extant in two impressions, at London and Dresden, The St, George
1 An imitation, as Dr, Lippmami lias observed (Jalirb. xvi, 139), of pamting in
.qrisaille. This is perhaps tbe new style of printing, “ auf Damast Art,” mentioned by
bchonsperger in a letter to the Emperor, and subsequently claimed by Jost de Negker
(27 October, 1512) as entirely his own invention (Herberger. op. cit. p, 32, note 101)-
2 P. vi, 208-210,
? Burgkmair’s St. George, B. 23, dated m.d.yiii, reproduced in Lippmann’s 25 En-
gravings and Woodcuts by Old Masters,” viii, 42, and the same artist’s portrait of'
Maximilian I, B. 32, dated 1508, reproduced in the Oppermann sale-catalogue (Amsler
and Ruthardt, Berlin, 1882), no. 304. The latter impression is now in the collection of
Baron E. de Eothschild, Paris ; a similar impression in brownish green, with the
original date, was sold at Gutekunst’s auotion, Stuttgart, May, 1902, no. 196. An
impression of the outliue-block alone, with the original date, is in the Munich
Cabinet.
4 Op. cit. p. 26, notes 81, 82.
3 “ Kurisser von Gold vnnd Sylber durch E. f. G. maler mit dem Truck gefertiget.”
The outline-'
block more
constantly
used in Ger-
many than in
Italy.
The process
invented iu
Germany.
Earliest dated
priuts.
Documents.
Extant speci-
meus of the
earliest kind
of chiaroscuro
as produced
at Witteu-
berg aud
Augsburg.