DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0322
291
Division A.—School of Nurernherg.—Diirer.
The latter are of two Mnds: nos. 38b, 39b, 40a, 43a, 44a, 48a, 49a, 50b, and 51a liave
Ha. 43 (Ha. reproduces the watermark inaccurately), wkile tlie remainder, nos. 42a,
45a, 46a, 47a, 52a, and 53a, have Ha. 52.
These two sets, as distinguished by their watermarks, are from different parts of
the old British Museum collection, both in the inventory of 1837. All are clean and
well preserved, with margins [3-8].
[54-59.]
THE SIX “ KNOTS.”
Patterns por Embroidery or Lace.
B. 140-145. H. 1926, 1928-1932. R. 108-113.
It is probable that Diirer designed these sixpatterns during hisresidence at 'Venice,
1505-7. Five of them (B. 140, 141, 142, 144, 145) are copied directly, so far as the
pattern itself is concerned, from five patterns engraved in the Academy of Leonardo da
Vinci (P. v, 182, 9, a-c, and two others, not described by P., in the Ambrosiana, Milan),1
and we may conclude that the remaining one is fouuded on a similar original, now lost
or undescribed. The engravings, however, miglit have travelled beyond the Alps. A
stronger argument for referring Diirer’s woodcuts to this date is that all the earliest
impressions are on an Italian paper, very thin and white, with a cardinal’s hat for
watermark. But for the fact that Diirer refers to them in his Netherlands journal2
(1521)as“die 6 Knotn,” his authorship might be called in question; his monogram
does not occur on the early impressions, and was only inserted, in a form which he would
never himself have drawn, in a late edition, issued probably after his death, of four
patterns only. The ornamentation in twisted white corcls on a black ground was
adapted to oblong form in a title-border published at Nuremberg by ,F. Peypus in 1522.
54. PATTERN WITH A HEART-SHAPED SHIELD SUSPENDED IN THE
MIDDLE. B. 140. H. 1928. R. 109.
First state, before the monogram.
[275 X 213.] Good impression ; the border still intact. Margin [3-5]. Water-
mark, cardinal’s hat.
In the inventory of 1837.
Gopied from an undescribed engraving in the Ambrosiana, reproduced by Miiutz,
i, 228. The sliield in the original contains the inscription, aoademia . leonakdi vin.
54a, THE SAME PATTERN.
Seconcl state, with the monogram insertecl in the shielcl.
[273 x 214.] Much later impression ; the border is broken in many places, and a
crack runs down the block a little to r. of the monogram. No margin. Watermark, a
large A in a cirele.
Presented by W. Mitchell, Esq., 1895.
55. PATTERN WITIi AN OBLONG TABLET SUSPENDED IN THE
MIDDLE. B. 141. H. 1929. R. 110.
First state, before the monogram.
[270 x 210.] Good impression, but mutilated ancl restored at top and bottom,
Margin [7-12], Watermark, cardinal’s hat.
Presented by W. Mitchell, Esq., 1895.
Copied from an undescribed engraving in the Ambrosiana, reproduced by Miintz,
i, 232. The shield in the original contains the inscription, . achdia . ledi . vici. The
background is shaded from r. to 1.
1 See E. Miintz, “ Leonardo da Vinci,” London, 1898, i. 225.
2 “ Diirer’s Schriftlic.her Nacldass,” p. 148.
u 2
Division A.—School of Nurernherg.—Diirer.
The latter are of two Mnds: nos. 38b, 39b, 40a, 43a, 44a, 48a, 49a, 50b, and 51a liave
Ha. 43 (Ha. reproduces the watermark inaccurately), wkile tlie remainder, nos. 42a,
45a, 46a, 47a, 52a, and 53a, have Ha. 52.
These two sets, as distinguished by their watermarks, are from different parts of
the old British Museum collection, both in the inventory of 1837. All are clean and
well preserved, with margins [3-8].
[54-59.]
THE SIX “ KNOTS.”
Patterns por Embroidery or Lace.
B. 140-145. H. 1926, 1928-1932. R. 108-113.
It is probable that Diirer designed these sixpatterns during hisresidence at 'Venice,
1505-7. Five of them (B. 140, 141, 142, 144, 145) are copied directly, so far as the
pattern itself is concerned, from five patterns engraved in the Academy of Leonardo da
Vinci (P. v, 182, 9, a-c, and two others, not described by P., in the Ambrosiana, Milan),1
and we may conclude that the remaining one is fouuded on a similar original, now lost
or undescribed. The engravings, however, miglit have travelled beyond the Alps. A
stronger argument for referring Diirer’s woodcuts to this date is that all the earliest
impressions are on an Italian paper, very thin and white, with a cardinal’s hat for
watermark. But for the fact that Diirer refers to them in his Netherlands journal2
(1521)as“die 6 Knotn,” his authorship might be called in question; his monogram
does not occur on the early impressions, and was only inserted, in a form which he would
never himself have drawn, in a late edition, issued probably after his death, of four
patterns only. The ornamentation in twisted white corcls on a black ground was
adapted to oblong form in a title-border published at Nuremberg by ,F. Peypus in 1522.
54. PATTERN WITH A HEART-SHAPED SHIELD SUSPENDED IN THE
MIDDLE. B. 140. H. 1928. R. 109.
First state, before the monogram.
[275 X 213.] Good impression ; the border still intact. Margin [3-5]. Water-
mark, cardinal’s hat.
In the inventory of 1837.
Gopied from an undescribed engraving in the Ambrosiana, reproduced by Miiutz,
i, 228. The sliield in the original contains the inscription, aoademia . leonakdi vin.
54a, THE SAME PATTERN.
Seconcl state, with the monogram insertecl in the shielcl.
[273 x 214.] Much later impression ; the border is broken in many places, and a
crack runs down the block a little to r. of the monogram. No margin. Watermark, a
large A in a cirele.
Presented by W. Mitchell, Esq., 1895.
55. PATTERN WITIi AN OBLONG TABLET SUSPENDED IN THE
MIDDLE. B. 141. H. 1929. R. 110.
First state, before the monogram.
[270 x 210.] Good impression, but mutilated ancl restored at top and bottom,
Margin [7-12], Watermark, cardinal’s hat.
Presented by W. Mitchell, Esq., 1895.
Copied from an undescribed engraving in the Ambrosiana, reproduced by Miintz,
i, 232. The shield in the original contains the inscription, . achdia . ledi . vici. The
background is shaded from r. to 1.
1 See E. Miintz, “ Leonardo da Vinci,” London, 1898, i. 225.
2 “ Diirer’s Schriftlic.her Nacldass,” p. 148.
u 2