DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0324
Division A.—Hchool of Nuremberg.—Diirer.
293
In tlie original tlie shield was designecl to hold the words academia leon . ardt
vin. The substitution of a black for a shaded background, and the combination of
the outlying ornaments with the central design, is effected in the same way as in no. 56.
No second state of this pattern, with monogram, is known to exist.
59. PATTERN COMBINING SEVEN SMALLER SYSTEMS OF KNOTS
WITH BLACK CENTRES. B. 145. H. 1932. R. 113.
[272 x 210.] Good impression, but marred by creases in the paper at the time
of printing. There are breaks in the border-line. Margin [2-4]. Watermark,
eardinal’s hat.
In the inventory of 1837.
This pattern is copied exactly from the second (P. 9b) of the described engravings.
In the original the seven sliaded centres of the knots contain the letters aca de mia
leo nar di vici (tbe last word being in the centre). The interstices are shaded and
the outlying ornaments are detaclied from the centre as in the other cases described.
iii. 1507-1512. Nos. 60-124.
00. CHRIST ON THE MOUNT OF OLIYES. B. 54. H. 1625. R. 166.
[128 X 97.] A good, though not a very early, impression, on stout white paper,
without watermark. Margin [10-12]. The border is broken in tliree places—near the
cross, in the 1. lower corner, and below the monogram.
Presented by W. Mitchell, Esq., 1895.
It is generally supposed, and with good rcason, that this block was originally
intended for the Little Passion, but rejected in favour of the different composition,
B. 26. In B. 54, Christ lies prone on the ground with outstretched arms—a position
which occurs in more than one drawiog by Diirer of this subject (Lippmanu 26, at
Berlin; 199, at Frankfort)—whereas in B. 26 he kneels with clasped hands. The face
of St. Peter is almost identical in both, but he leans in a different direction. St. John’s
position is little altered; St. James is quite differently placed. B. 54 is very inferior
in the cutting to any block which was used in the boolc, and this helps to account for
its rejection. It must be ainong the earliest of these compositions, and mav be dated
therefore about 1507-8. Impressions of tliis woodeut are rare. A reproduction of it was
included in the facsimile of tbe Little Passion (without tlie text) published in Hirth’s
“ Liebhaberbibliothek,” Munich, 1884.
[61-96.]
THE LITTLE PASSION. Date about 1508-1510. b. 17-52.
Two subjects of the Little Passion (B. 32 and 37) are dated 1509, and two (B. 18
and 38) 1510. Tlie cutting of the blocks is unequal, and some (e.g. B. 31, 33) may be
earlier than 1509. The series was published in book-form in 1511, with tlie addition of
a frontispiece (B. 16). The latter must have been cut shortly before the publication of
the book, for very few proofs of tliis woodcut are known to exist. (There are two, at
Amsterdam and Stuttgart, and this collection possesses a unique trial-proof, described
below, no. 110). Of the thirty-six woodcuts which compose theseries itself, some sets of
proofs were struck off before the issue of the book. These are distinguished by their
watermarks and by the sharpness of the lines from those impressions without text
which are later than 1511. Ilausmann describes a set of proofs at Amsterdam in sheets
containing four subjects each, not cut up. A similar set is at Stuttgart (size of sheet,
414 x 296 ; watermark, sniall high crown).
This collection contains two sets of proofs. In the first and earliest, the second cut
(B. 18) is still in the first state. The black line which runs down the middle of Eve’s
back is crossed by a number of short lrorizontal strokes. In the second state, which
occurs in the second set of proofs and in all later impressions, ten and a half of these
cross-lines have been cut away, leaving only those lines at the top which are in tho
shadow cast by the hair and the 1. half of the line next below the shadow,
293
In tlie original tlie shield was designecl to hold the words academia leon . ardt
vin. The substitution of a black for a shaded background, and the combination of
the outlying ornaments with the central design, is effected in the same way as in no. 56.
No second state of this pattern, with monogram, is known to exist.
59. PATTERN COMBINING SEVEN SMALLER SYSTEMS OF KNOTS
WITH BLACK CENTRES. B. 145. H. 1932. R. 113.
[272 x 210.] Good impression, but marred by creases in the paper at the time
of printing. There are breaks in the border-line. Margin [2-4]. Watermark,
eardinal’s hat.
In the inventory of 1837.
This pattern is copied exactly from the second (P. 9b) of the described engravings.
In the original the seven sliaded centres of the knots contain the letters aca de mia
leo nar di vici (tbe last word being in the centre). The interstices are shaded and
the outlying ornaments are detaclied from the centre as in the other cases described.
iii. 1507-1512. Nos. 60-124.
00. CHRIST ON THE MOUNT OF OLIYES. B. 54. H. 1625. R. 166.
[128 X 97.] A good, though not a very early, impression, on stout white paper,
without watermark. Margin [10-12]. The border is broken in tliree places—near the
cross, in the 1. lower corner, and below the monogram.
Presented by W. Mitchell, Esq., 1895.
It is generally supposed, and with good rcason, that this block was originally
intended for the Little Passion, but rejected in favour of the different composition,
B. 26. In B. 54, Christ lies prone on the ground with outstretched arms—a position
which occurs in more than one drawiog by Diirer of this subject (Lippmanu 26, at
Berlin; 199, at Frankfort)—whereas in B. 26 he kneels with clasped hands. The face
of St. Peter is almost identical in both, but he leans in a different direction. St. John’s
position is little altered; St. James is quite differently placed. B. 54 is very inferior
in the cutting to any block which was used in the boolc, and this helps to account for
its rejection. It must be ainong the earliest of these compositions, and mav be dated
therefore about 1507-8. Impressions of tliis woodeut are rare. A reproduction of it was
included in the facsimile of tbe Little Passion (without tlie text) published in Hirth’s
“ Liebhaberbibliothek,” Munich, 1884.
[61-96.]
THE LITTLE PASSION. Date about 1508-1510. b. 17-52.
Two subjects of the Little Passion (B. 32 and 37) are dated 1509, and two (B. 18
and 38) 1510. Tlie cutting of the blocks is unequal, and some (e.g. B. 31, 33) may be
earlier than 1509. The series was published in book-form in 1511, with tlie addition of
a frontispiece (B. 16). The latter must have been cut shortly before the publication of
the book, for very few proofs of tliis woodcut are known to exist. (There are two, at
Amsterdam and Stuttgart, and this collection possesses a unique trial-proof, described
below, no. 110). Of the thirty-six woodcuts which compose theseries itself, some sets of
proofs were struck off before the issue of the book. These are distinguished by their
watermarks and by the sharpness of the lines from those impressions without text
which are later than 1511. Ilausmann describes a set of proofs at Amsterdam in sheets
containing four subjects each, not cut up. A similar set is at Stuttgart (size of sheet,
414 x 296 ; watermark, sniall high crown).
This collection contains two sets of proofs. In the first and earliest, the second cut
(B. 18) is still in the first state. The black line which runs down the middle of Eve’s
back is crossed by a number of short lrorizontal strokes. In the second state, which
occurs in the second set of proofs and in all later impressions, ten and a half of these
cross-lines have been cut away, leaving only those lines at the top which are in tho
shadow cast by the hair and the 1. half of the line next below the shadow,