DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0355
Division A.—School of Nuremberg.—Dicrer.
321
At Copenhagen these slips have been waslied oft' one of the impressions, and are
preserved separately; in our own impression the earlier inscriptions, underneath the
slips, can be seen indistinctly frorn the back. The third edition has the corrected
inscriptions only, pasted over spaces which would otherwise be empty.
2. Similar corrections have taken place in the genealogy (pl. 32), and on one block
of the kinsmen of Masimilian (pl. 24). In the former case the original titles, “ Eade-
poto der standhafft,” “ Boitzel der groszmutig ” and “ Guntram der dapffer,” under the
three last figures r. in the second row, have been covered with slips of paper bearing
the amended titles, “ Otto der trostlicb,” “ Wernherus der guetig,” and “ Badepoto der
Standhafft,” also printed from the same wood-blocks on which the corrected titles of
the gates were cut. Similarly, on pl. 24 “ Albrecht ” is pasted over the original name
“ Bonifaci.” In the 1559 and later editions these corrections have been omitted, so that
the original reading is restored.
3. The initial D at the beginning of the first sheet of the text (pl. l)differs in three
at least of the various editions. In the first it is larger and mucli more ornamental than
in the third; in the fourth Bartsch again used an ornamental letter, obviously modern ;
the fifth reproduces the plainer initial of the third.
4. The five sheets of text (pl. 1-5) are preceded and followed, in the early editions,
by a block representing the rolled-up end of a scroll of paper, intended to suggest that
the whole description is printed on one gigantic scroll, similar in shape to the labels
over the twenty-four historical subjects. These two blocks are wanting in the modern
editions.
5. The second historical subject (pl. 20), the Burgunclian Marriage, is, in the first
edition, the original block bv Durer (Chmelarz, p. 317)—which was also used in the
separate editions of the historical subjects, and in the complete edition of 1559—and not
the ot.her block of the same subject, by Springinklee, which was used in the two modcrn
editions.
6. The twenty-fourth historical subject (pl. 25) is wanting; the space left for it is
blank,1 and the label over the space bears no inscription. This space was filled, in the
1559 edition, by a woodcut of the battle of Pavia, 1525, by au artist not otherwise
represented on the arch, while anew label, with xylographic text (not text printed with
type, as Chmelarz says, p. 316), was substituted for the former blank one.
7. A new label, with text cut in the same style, was substituted at the same Lime for
the former label over the fourteentli subject (pl. 26), of which the block had been lost
or broken. The original block has, 1. 1, “ sturm,” 1. 3, “ kunigreich,” 1. 5, “ osterreich,”
1. 6, “sye,” and “ eyd.” The new block has in these places “Sturm,” “ Konigreich,”
“ Osterreicb,” “ sie,” and “ Eid.”
8. A new figure of “Rudolf der streitpar” (pl. 26) was cut for the 1559 edition, with
the date 1559 placed below the capital of the pilaster r. The shield 1., which measured
90 mm. in the original block, measures only 70 mm. in the new one. The original
figure of P»,udolph (by Diirer) has not been reproduced in either of the modern editions.
[130 a, b.]
THE TRIUMPHAL ARCH.
Separate Editions op the Historical Subjects.
B. 138. H. 1915. B. 217.
Glax described four editions of the historical subjects which occupy the wall-space
over tlie two side gates of the arch. The first three were printed at Nuremberg, by
Hieronymus Andrea (wlio retained the blocks till 1526), after Maximilian’s death,
probably for sale as a memento of the Emperor. They were not issued in book-form,
but in large sheets, on which the woodcuts were arranged in two rows. A and B liave
1 In the British Museum impression this space has been wrongly filled up with an
impression of the alternative cut for the eleventh subject (see p. 324, no. 10, and
Ghmelarz, p. 314). Dr. Singer (“ Die Kupferstichsammlung Lanna zu Prag,” i, 321)
describes an impression in which this space has been filled up with a different subject,
viz., a woodcut from the Weisskunig, whicli was also used in edition B of the historical
subjects.
Y
321
At Copenhagen these slips have been waslied oft' one of the impressions, and are
preserved separately; in our own impression the earlier inscriptions, underneath the
slips, can be seen indistinctly frorn the back. The third edition has the corrected
inscriptions only, pasted over spaces which would otherwise be empty.
2. Similar corrections have taken place in the genealogy (pl. 32), and on one block
of the kinsmen of Masimilian (pl. 24). In the former case the original titles, “ Eade-
poto der standhafft,” “ Boitzel der groszmutig ” and “ Guntram der dapffer,” under the
three last figures r. in the second row, have been covered with slips of paper bearing
the amended titles, “ Otto der trostlicb,” “ Wernherus der guetig,” and “ Badepoto der
Standhafft,” also printed from the same wood-blocks on which the corrected titles of
the gates were cut. Similarly, on pl. 24 “ Albrecht ” is pasted over the original name
“ Bonifaci.” In the 1559 and later editions these corrections have been omitted, so that
the original reading is restored.
3. The initial D at the beginning of the first sheet of the text (pl. l)differs in three
at least of the various editions. In the first it is larger and mucli more ornamental than
in the third; in the fourth Bartsch again used an ornamental letter, obviously modern ;
the fifth reproduces the plainer initial of the third.
4. The five sheets of text (pl. 1-5) are preceded and followed, in the early editions,
by a block representing the rolled-up end of a scroll of paper, intended to suggest that
the whole description is printed on one gigantic scroll, similar in shape to the labels
over the twenty-four historical subjects. These two blocks are wanting in the modern
editions.
5. The second historical subject (pl. 20), the Burgunclian Marriage, is, in the first
edition, the original block bv Durer (Chmelarz, p. 317)—which was also used in the
separate editions of the historical subjects, and in the complete edition of 1559—and not
the ot.her block of the same subject, by Springinklee, which was used in the two modcrn
editions.
6. The twenty-fourth historical subject (pl. 25) is wanting; the space left for it is
blank,1 and the label over the space bears no inscription. This space was filled, in the
1559 edition, by a woodcut of the battle of Pavia, 1525, by au artist not otherwise
represented on the arch, while anew label, with xylographic text (not text printed with
type, as Chmelarz says, p. 316), was substituted for the former blank one.
7. A new label, with text cut in the same style, was substituted at the same Lime for
the former label over the fourteentli subject (pl. 26), of which the block had been lost
or broken. The original block has, 1. 1, “ sturm,” 1. 3, “ kunigreich,” 1. 5, “ osterreich,”
1. 6, “sye,” and “ eyd.” The new block has in these places “Sturm,” “ Konigreich,”
“ Osterreicb,” “ sie,” and “ Eid.”
8. A new figure of “Rudolf der streitpar” (pl. 26) was cut for the 1559 edition, with
the date 1559 placed below the capital of the pilaster r. The shield 1., which measured
90 mm. in the original block, measures only 70 mm. in the new one. The original
figure of P»,udolph (by Diirer) has not been reproduced in either of the modern editions.
[130 a, b.]
THE TRIUMPHAL ARCH.
Separate Editions op the Historical Subjects.
B. 138. H. 1915. B. 217.
Glax described four editions of the historical subjects which occupy the wall-space
over tlie two side gates of the arch. The first three were printed at Nuremberg, by
Hieronymus Andrea (wlio retained the blocks till 1526), after Maximilian’s death,
probably for sale as a memento of the Emperor. They were not issued in book-form,
but in large sheets, on which the woodcuts were arranged in two rows. A and B liave
1 In the British Museum impression this space has been wrongly filled up with an
impression of the alternative cut for the eleventh subject (see p. 324, no. 10, and
Ghmelarz, p. 314). Dr. Singer (“ Die Kupferstichsammlung Lanna zu Prag,” i, 321)
describes an impression in which this space has been filled up with a different subject,
viz., a woodcut from the Weisskunig, whicli was also used in edition B of the historical
subjects.
Y