DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0287
256
Early Gerrnan and Flemish Woodcuts.
The use of
two outline-
blocks a
stage in the
invention of
true chiaro-
scuro.
by Cranach in tlie British Museum1 is printed from two blocks, in
black ancl gold, on paper previously tinted blue with water-colour.
Cranach’s signature is introduced on the block whicli gives the second
outline in gold. In the Dresden impression that second block is
printed, also on blue paper, with a white material, which served as
a foundation for the gold subsequently applied. Of Burgkmair’s
“ kurisser,” which are almost certainly those to which Peutinger
alludes in his letter as being just ready in September, 1508, we have
two specimens, both bearing that date—the St. George, B. 23, printed
in black and silver, on paper, in the collection of Dr. W. Weisbach at
Berlin,2 and the Maximilian on horseback, B. 32, printed in black
and gold, on vellum, in the Liechtenstein collection at Vienna:3 of
tbe Maximilian, there is another impression at Gotha.
The important tlring to observe about all these early prints in
black and gold is that they are printed from two outline-blocks, and
that the tone is added by hand or dispensed with altogether. The
use of two outlines is limited to two years, 1507 and 1508, and to
two cities, Wittenberg and Augsburg. It clearly rnarks a stage in
the evolution of tlie chiaroscuro ; and when the last stage was reached,
and Jost de LTegker introduced the tone-block for use with the same
black outline as had served before, the experimental second outline
was abandoned. This is Dr. Flechsig’s strongest argument4 against
Dr. Lippmann’s opinion that Cranach was the inventor of the true
chiaroscuro, and that, even if the date, 1506, on the St. Christopher
and the Venus cannot be taken to apply to the tone-block, t-here is
reason to think, on other grounds, that the chiaroscuro Venus was
actually printed before 1508. Dr. Flechsig has several ot-her
arguments against that opinion, which this is not the plaee to
discuss. He has proved, I think, that Cranach, who returned about
15 November, 1508, fronBa visit to the Netherlands, cannot- have
1 From the Mitchell collection. Au inaccurate and mitdeading “ faesimile ” by the
Reichsdruckerei has been published in the Berlin Jahrbuck, xvi, 138, and in Dr. Lipp-
mann'B“Lucas Cranach,” Grote, Berlin, 1895 (pl. 20). The flatneBS of the dull blue
tint was perhaps inevitable, though ita unpleasant eft'ect could have been diminished by
cutting oft’ the tint at the border iine of the woodeut, beyond which it. had no business to
extend. The great fault, however, is that an impression of the ordinary seeond 6t-ate
of the black outline-block has been S6leeted for reproduction instead of the tirst
state, in which the shield with the crossed ewords has ite black half at the
bottom. This mistake has led Dr, Flechsig, very naturally, to condemn the London
impression as spurious, whereas it is a genuine impression of the first etate, before
the alteration in the arms, which was introduced in 1508.
2 Dr. Weisbach himself believes that what now appears to be silver is only the
foundation for gold, grains of which may even now be seen adhering to the lines.
3 A reproduction of this on a reduced scale was published by Ckmelarz in the
Jahrb. d. kunsthist. Samml. d. allerh. Kaiserhauses, Bd. xv.
4 Jjoc. cit.
Early Gerrnan and Flemish Woodcuts.
The use of
two outline-
blocks a
stage in the
invention of
true chiaro-
scuro.
by Cranach in tlie British Museum1 is printed from two blocks, in
black ancl gold, on paper previously tinted blue with water-colour.
Cranach’s signature is introduced on the block whicli gives the second
outline in gold. In the Dresden impression that second block is
printed, also on blue paper, with a white material, which served as
a foundation for the gold subsequently applied. Of Burgkmair’s
“ kurisser,” which are almost certainly those to which Peutinger
alludes in his letter as being just ready in September, 1508, we have
two specimens, both bearing that date—the St. George, B. 23, printed
in black and silver, on paper, in the collection of Dr. W. Weisbach at
Berlin,2 and the Maximilian on horseback, B. 32, printed in black
and gold, on vellum, in the Liechtenstein collection at Vienna:3 of
tbe Maximilian, there is another impression at Gotha.
The important tlring to observe about all these early prints in
black and gold is that they are printed from two outline-blocks, and
that the tone is added by hand or dispensed with altogether. The
use of two outlines is limited to two years, 1507 and 1508, and to
two cities, Wittenberg and Augsburg. It clearly rnarks a stage in
the evolution of tlie chiaroscuro ; and when the last stage was reached,
and Jost de LTegker introduced the tone-block for use with the same
black outline as had served before, the experimental second outline
was abandoned. This is Dr. Flechsig’s strongest argument4 against
Dr. Lippmann’s opinion that Cranach was the inventor of the true
chiaroscuro, and that, even if the date, 1506, on the St. Christopher
and the Venus cannot be taken to apply to the tone-block, t-here is
reason to think, on other grounds, that the chiaroscuro Venus was
actually printed before 1508. Dr. Flechsig has several ot-her
arguments against that opinion, which this is not the plaee to
discuss. He has proved, I think, that Cranach, who returned about
15 November, 1508, fronBa visit to the Netherlands, cannot- have
1 From the Mitchell collection. Au inaccurate and mitdeading “ faesimile ” by the
Reichsdruckerei has been published in the Berlin Jahrbuck, xvi, 138, and in Dr. Lipp-
mann'B“Lucas Cranach,” Grote, Berlin, 1895 (pl. 20). The flatneBS of the dull blue
tint was perhaps inevitable, though ita unpleasant eft'ect could have been diminished by
cutting oft’ the tint at the border iine of the woodeut, beyond which it. had no business to
extend. The great fault, however, is that an impression of the ordinary seeond 6t-ate
of the black outline-block has been S6leeted for reproduction instead of the tirst
state, in which the shield with the crossed ewords has ite black half at the
bottom. This mistake has led Dr, Flechsig, very naturally, to condemn the London
impression as spurious, whereas it is a genuine impression of the first etate, before
the alteration in the arms, which was introduced in 1508.
2 Dr. Weisbach himself believes that what now appears to be silver is only the
foundation for gold, grains of which may even now be seen adhering to the lines.
3 A reproduction of this on a reduced scale was published by Ckmelarz in the
Jahrb. d. kunsthist. Samml. d. allerh. Kaiserhauses, Bd. xv.
4 Jjoc. cit.