DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0400
Division A.—ScJiool of Nuremberg.—Anonymous. 363
them carries a bunch of grapes. The capital is of a fanciful, pseudo-
Corinthian clesign, with roses on long stalks growing out of the curling
leaves. At the foot of the fluted shaft two winged harpies, with women’s
heads and bodies, long hair and lion’s feet, are bound to the column. Two
large ram’s horns project from the upper member of the base, which has a
large ram’s skull in front; three ram’s heads are attached to a lower
member; below this the base expands to a wicle bulbous shape, and then
contracts, ending finally in the shape of a turnip, with leaves and roots
attached to it, which two plump angels or genii are lifting from the
ground. The whole work is cut on four blocks, without a border-line.
[1604 X 227.] Yery fine impression, 'witkout date or inscription; watermark, a dog.
Slightly damaged, but carefully repaired and mounted on linen. The satyr’s horns, the
r. half of the capital and some of the beads are gilded with gold leaf applied to a red
ground. No other portions are coloured.
In the inventory of 1837.
Complete impressions of the column are extremely rare. H. mentions one in the
Stadel Institute at Frankfort, and Schorn (Kunstblatt, 1830, p. 108) describes two
impressions, witk the date 1517, in the Nagler collection, now in the Berlin Cabinet.
Another dated impression is in the Germanic Museum, Nuremberg. The finest undated
impressions, such as the preseut example, are earlier tiian those dated 1517.
The drawing, by some pupil of Diirer (Springinklee ?), wliich served as the imme-
diate pattern for the woodcut, is preserved in the British Museum (Sloane 5218, 87-89),
with the exception of the fourth sheet, containing the base, which is missing. It
formed part of the Sloane collection of Diirer drawings, contained in a black leather
yolume with binding dated 1637 and a Dutch inscription. The drawing is in pen-
and-ink outline, tinted with water-colour in six colours, pink, brown, yellow, green,
blue, and violet, against a black background. Tlie woodcut reproduces the drawing in
reverse, on the same scale and with very slight deviations in detail. These water-
colour drawings made in Diirer’s studio generaliy mark an intermediate stage between
the master’s first sketch in peu and ink or chalk and the finislied work. They were
made especially as patterus to guide the draughtsman in transferring a design of
Durer’s to the block, when this was not done by his own hand. Diirer’s original sketch
in this case is not preserved, but there is a similar column lifted by angels, witli a
seated satyr at the top, among the marginal decorations of the so-called “ Prayer-book
of the Emperor Maximilian ” at Munich (no. 12 ot' Strixner’s lithographs).
HERALDRY.
36. THE ARMS OF TIIE EMPIRE AND OF NUREMBERG.
B. 162. H. 1942. R.—A 20.
[245 x 168.] A later impression, with no text on the back, of the woodcut
attributed above (p. 337, no. 144) to Diirer.
In the inventory of 1837.
36a. TI4E ARMS OF THE EMPIRE AND OF NUREMBERG.
B. 162. H. 1942. R.—A 20.
A modern impression (c. 1800 or later ?) on blue-grey paper.
Purchased from Mr. Durrell, 1848.
37. ARMS OF THE BEHAIM FAMILY.
B. app. 57. H. 2122. P. 306. R.—A 58.
First state, with the tilting-helm.
[127 x 107.] Old impression, richly illuminated in water-coiour, body-colour, and
gold; the white-lead used for silver has turned a dark grey. The entire background,
whether shadod or not, has been filled in with an opaque blue, with the exception of a
them carries a bunch of grapes. The capital is of a fanciful, pseudo-
Corinthian clesign, with roses on long stalks growing out of the curling
leaves. At the foot of the fluted shaft two winged harpies, with women’s
heads and bodies, long hair and lion’s feet, are bound to the column. Two
large ram’s horns project from the upper member of the base, which has a
large ram’s skull in front; three ram’s heads are attached to a lower
member; below this the base expands to a wicle bulbous shape, and then
contracts, ending finally in the shape of a turnip, with leaves and roots
attached to it, which two plump angels or genii are lifting from the
ground. The whole work is cut on four blocks, without a border-line.
[1604 X 227.] Yery fine impression, 'witkout date or inscription; watermark, a dog.
Slightly damaged, but carefully repaired and mounted on linen. The satyr’s horns, the
r. half of the capital and some of the beads are gilded with gold leaf applied to a red
ground. No other portions are coloured.
In the inventory of 1837.
Complete impressions of the column are extremely rare. H. mentions one in the
Stadel Institute at Frankfort, and Schorn (Kunstblatt, 1830, p. 108) describes two
impressions, witk the date 1517, in the Nagler collection, now in the Berlin Cabinet.
Another dated impression is in the Germanic Museum, Nuremberg. The finest undated
impressions, such as the preseut example, are earlier tiian those dated 1517.
The drawing, by some pupil of Diirer (Springinklee ?), wliich served as the imme-
diate pattern for the woodcut, is preserved in the British Museum (Sloane 5218, 87-89),
with the exception of the fourth sheet, containing the base, which is missing. It
formed part of the Sloane collection of Diirer drawings, contained in a black leather
yolume with binding dated 1637 and a Dutch inscription. The drawing is in pen-
and-ink outline, tinted with water-colour in six colours, pink, brown, yellow, green,
blue, and violet, against a black background. Tlie woodcut reproduces the drawing in
reverse, on the same scale and with very slight deviations in detail. These water-
colour drawings made in Diirer’s studio generaliy mark an intermediate stage between
the master’s first sketch in peu and ink or chalk and the finislied work. They were
made especially as patterus to guide the draughtsman in transferring a design of
Durer’s to the block, when this was not done by his own hand. Diirer’s original sketch
in this case is not preserved, but there is a similar column lifted by angels, witli a
seated satyr at the top, among the marginal decorations of the so-called “ Prayer-book
of the Emperor Maximilian ” at Munich (no. 12 ot' Strixner’s lithographs).
HERALDRY.
36. THE ARMS OF TIIE EMPIRE AND OF NUREMBERG.
B. 162. H. 1942. R.—A 20.
[245 x 168.] A later impression, with no text on the back, of the woodcut
attributed above (p. 337, no. 144) to Diirer.
In the inventory of 1837.
36a. TI4E ARMS OF THE EMPIRE AND OF NUREMBERG.
B. 162. H. 1942. R.—A 20.
A modern impression (c. 1800 or later ?) on blue-grey paper.
Purchased from Mr. Durrell, 1848.
37. ARMS OF THE BEHAIM FAMILY.
B. app. 57. H. 2122. P. 306. R.—A 58.
First state, with the tilting-helm.
[127 x 107.] Old impression, richly illuminated in water-coiour, body-colour, and
gold; the white-lead used for silver has turned a dark grey. The entire background,
whether shadod or not, has been filled in with an opaque blue, with the exception of a