DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0318
Division A.—School of Nuremberg.—Diirer.
287
33. ST. FRANCIS RECEIVING THE STIGMATA. B. 110. H. 1829. R. 57.
[218 x 145.] Fine impression, without margin. No watermark.
Presented. by W. Mitchell, Esq., 1895.
34. SS. STEPIIEN, SIXTUS, AND LAURENCE. B. 108. H. 1876. R. 123.
[211 X 142.] Indistinct, and not very early, impression, without margin.
Watermarb, Ha. 30a? (indistinct).
Presented by W. Mitchell, Esq , 1895.
All the catalogues since Bartsch have described the sainted Pope who stands
between the two deacons, as St. Gregory. Vasari (ed. Milancsi, 1880, v, 401) followed
an older aud better founded tradition when he spoke of a woodcut by Diirer of “ San
Sisto Papa, Santo Stefano e San Lorenzo.” The pinse carried by the Pope alludes to
the treasures of the Church, which St. Sixtus II (d. 258; confused by Wessely with
Sixtus I) before his own martyrdom gave to St. Laurence for clistribution among the
poor. The purse could have no special appropriateness in the hand of St. Gregory. St.
Sixtus, in art as in legend, is sptcially associatecl with St. Laurence. Fra Angelico’s
frescoes in the chapel of Nicholas V in the Vatican are the best known instance.
Thougli ihe Pope’s rank entitled him to the place of honour, St. Laurence, as one of
the patrons of Nuremberg, is tlie hero, so to say, and original motive of Diirer’s wood-
cut. St. Stephen, the first deacon-martyr, is representecl here, as in many other instances,
as the prototype of St. Laurence; while St. Sixtus, wlio ordnined St. Laurence and went
just before him to martyrdom, is fitly placed by his side.
35. SS. NIOHOLAS, ULBICII, AND ERASMUS. B. 118. H. 1874. R. 122.
[213 x 144.] Good impression, without margin. Watermark, Ha. 22a.
In the inventory of 1837.
In composition, drawing, and execution, this woodcut is so closely akin to no. 34
that the two must be regarded as a pair. St. Ulrich being the patron saint of Augs-
burg, the woodcut may have been commissioned for some purpose connected vith
that city.
35a. SS. NIOHOLAS, ULRICH, AND ERASMUS. B. 118. H. 1874. R. 122.
[214 X 146.] A somewhat later impression, without margin, on yellowish paper.
No watermark.
Preseuted by W. Mitchell, Esq., 1895.
36. ST. GEORGE AND THE DRAGON. B. 111. II. 1832. R. 86.
[212 x 143.] Good impression, without margiu. Watermarb, Ha. 22a.
Presented by W. Mitcheli, Esq., 1895.
The St. George was probably designed about 1505, when Durer was specially
interested in the study of horses. It is uniform in size, and to some extent in the
cutting, with the series of prints described above, but the landscape is slighter and less
interesting, while the manner in whicli wide spaces of white are thrown into relief by
black shadow is unique in Diirer’s work on wood.
[37-53]
THE LIFE OF THE VIRGIN.
Proofs of the Earlier Portion. 1504-1505.
Of the twenty subjects which compose tlro Life of the Virgin, seventeen were
finished before Diirer went to Venice in 1505. These seventeen were copied by
Marcantonio, who engraved on two of his copies the clate 1506.
It was not till 1510 that Diirer completed the series by adding the Death and the
Assumption of the Virgiu (B. 93-4) and the frontispiece (B. 76). The Life of the
Virgin was issued in book-form, with Latin verses by Chelidonius, in 1511. A copy of
this edition (from the Mitehell collection) is in the Dept. (p. 262, no. 4). The proofs
ul' the luter subjects are descrfjted bi low (nos. 106, 107).
287
33. ST. FRANCIS RECEIVING THE STIGMATA. B. 110. H. 1829. R. 57.
[218 x 145.] Fine impression, without margin. No watermark.
Presented. by W. Mitchell, Esq., 1895.
34. SS. STEPIIEN, SIXTUS, AND LAURENCE. B. 108. H. 1876. R. 123.
[211 X 142.] Indistinct, and not very early, impression, without margin.
Watermarb, Ha. 30a? (indistinct).
Presented by W. Mitchell, Esq , 1895.
All the catalogues since Bartsch have described the sainted Pope who stands
between the two deacons, as St. Gregory. Vasari (ed. Milancsi, 1880, v, 401) followed
an older aud better founded tradition when he spoke of a woodcut by Diirer of “ San
Sisto Papa, Santo Stefano e San Lorenzo.” The pinse carried by the Pope alludes to
the treasures of the Church, which St. Sixtus II (d. 258; confused by Wessely with
Sixtus I) before his own martyrdom gave to St. Laurence for clistribution among the
poor. The purse could have no special appropriateness in the hand of St. Gregory. St.
Sixtus, in art as in legend, is sptcially associatecl with St. Laurence. Fra Angelico’s
frescoes in the chapel of Nicholas V in the Vatican are the best known instance.
Thougli ihe Pope’s rank entitled him to the place of honour, St. Laurence, as one of
the patrons of Nuremberg, is tlie hero, so to say, and original motive of Diirer’s wood-
cut. St. Stephen, the first deacon-martyr, is representecl here, as in many other instances,
as the prototype of St. Laurence; while St. Sixtus, wlio ordnined St. Laurence and went
just before him to martyrdom, is fitly placed by his side.
35. SS. NIOHOLAS, ULBICII, AND ERASMUS. B. 118. H. 1874. R. 122.
[213 x 144.] Good impression, without margin. Watermark, Ha. 22a.
In the inventory of 1837.
In composition, drawing, and execution, this woodcut is so closely akin to no. 34
that the two must be regarded as a pair. St. Ulrich being the patron saint of Augs-
burg, the woodcut may have been commissioned for some purpose connected vith
that city.
35a. SS. NIOHOLAS, ULRICH, AND ERASMUS. B. 118. H. 1874. R. 122.
[214 X 146.] A somewhat later impression, without margin, on yellowish paper.
No watermark.
Preseuted by W. Mitchell, Esq., 1895.
36. ST. GEORGE AND THE DRAGON. B. 111. II. 1832. R. 86.
[212 x 143.] Good impression, without margiu. Watermarb, Ha. 22a.
Presented by W. Mitcheli, Esq., 1895.
The St. George was probably designed about 1505, when Durer was specially
interested in the study of horses. It is uniform in size, and to some extent in the
cutting, with the series of prints described above, but the landscape is slighter and less
interesting, while the manner in whicli wide spaces of white are thrown into relief by
black shadow is unique in Diirer’s work on wood.
[37-53]
THE LIFE OF THE VIRGIN.
Proofs of the Earlier Portion. 1504-1505.
Of the twenty subjects which compose tlro Life of the Virgin, seventeen were
finished before Diirer went to Venice in 1505. These seventeen were copied by
Marcantonio, who engraved on two of his copies the clate 1506.
It was not till 1510 that Diirer completed the series by adding the Death and the
Assumption of the Virgiu (B. 93-4) and the frontispiece (B. 76). The Life of the
Virgin was issued in book-form, with Latin verses by Chelidonius, in 1511. A copy of
this edition (from the Mitehell collection) is in the Dept. (p. 262, no. 4). The proofs
ul' the luter subjects are descrfjted bi low (nos. 106, 107).