DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0447
404
Early German ancl Flemish Woodcuts.—Part II.
72. PHILIP, KING OF CASTILE ; ST. LEOPOLD, MAKGRAYE OE
AUSTRIA; THE ARCHDUKE SIGISMUND; CHARLES, DUKE
OF BURGUNDY. No. 10S (110).
Arrangement as in nos. 69-71. St. Leopolcl is copiecl in reverse £rom
the figure of that saint, by Diirer, on the Triumphal Arch.
[380 x 372.] As no. 54.
It is not known who cut the block.
73. A KING AND QUEEN RIDING. No. 130 (121).
The king and queen, holcling sceptres m their r. hands, ride to r.,
escorted by six pikemen. This subject does not occur in the programme,
ancl it is uncertain what royal couple is represented.
[266 X 373.] This impression is from the 1796 edition, and has the printed number.
The block was cut by Alexius Lindt.
74. A PRINCESS RIDING. No. 131 (122).
The princess rides to r. on a richly caparisoned palfrey led by Wo
noblemen. She is followed by two ladies-in-waiting, whose horses are
escorted by three halberdiers. Tliis subject, 'again, does not occur in the
programme; the pomegranates on the caparison show that the lady is
closely connected with Maximilian, and she ma.y be the Archduchess
Margaret, or even Mary of Burguncly, though a place was provided for
each of these on the Triumphal Car, which was originally to have formed
part of the procession.
[262 x 424.] Yery fine impression, with the watermark of the 1526 edition. (See
no. 60.)
The block was cut by Jost de Negker.
75. ST. GEORGE AS THE EMPEROR'S PATRON SAINT. B. vii, 329, 58.
St. George stands 1. in full armour, holding in his r. hand a banner
marked with a cross in a circle. The dragon lies dead at his feet. To r.
is a Gothic chapel, witli tlie emblems of the Golden Fleece (St. Andrew’s
cross and the flint and steel) marked upon the tiles of the roof. The
chapel is drawn on so small a scale, in proportion to the figures, that
Maximilian, who kneels on one knee in front of it, lays his gaunt-leted r.
hand on the roof. He wears over his armour a cope with St. George’s
cross upon the clasp, while his helmet is surmounted by the crown of the
King of the Romans.* 1 There is a landscape background wit.h trees
and mountains; Springinklee’s monogram is in the foreground near the r.
lower corner.
[235 x 212.] Late impression, after tlie block had become worm-eaten, on paper
ruled in squares on the back.
Purchased from Messrs. Evans, 1856.
1 For the shape of the crown, compare these personages in the Habsburg pedigree on
the Triumphal Arch who were kings of the Romans but were never crowned as
emperors. They, however, wear the crown with the hoop passing across the head from
1. to r., whcreas here it appears to pass from front to back.
Early German ancl Flemish Woodcuts.—Part II.
72. PHILIP, KING OF CASTILE ; ST. LEOPOLD, MAKGRAYE OE
AUSTRIA; THE ARCHDUKE SIGISMUND; CHARLES, DUKE
OF BURGUNDY. No. 10S (110).
Arrangement as in nos. 69-71. St. Leopolcl is copiecl in reverse £rom
the figure of that saint, by Diirer, on the Triumphal Arch.
[380 x 372.] As no. 54.
It is not known who cut the block.
73. A KING AND QUEEN RIDING. No. 130 (121).
The king and queen, holcling sceptres m their r. hands, ride to r.,
escorted by six pikemen. This subject does not occur in the programme,
ancl it is uncertain what royal couple is represented.
[266 X 373.] This impression is from the 1796 edition, and has the printed number.
The block was cut by Alexius Lindt.
74. A PRINCESS RIDING. No. 131 (122).
The princess rides to r. on a richly caparisoned palfrey led by Wo
noblemen. She is followed by two ladies-in-waiting, whose horses are
escorted by three halberdiers. Tliis subject, 'again, does not occur in the
programme; the pomegranates on the caparison show that the lady is
closely connected with Maximilian, and she ma.y be the Archduchess
Margaret, or even Mary of Burguncly, though a place was provided for
each of these on the Triumphal Car, which was originally to have formed
part of the procession.
[262 x 424.] Yery fine impression, with the watermark of the 1526 edition. (See
no. 60.)
The block was cut by Jost de Negker.
75. ST. GEORGE AS THE EMPEROR'S PATRON SAINT. B. vii, 329, 58.
St. George stands 1. in full armour, holding in his r. hand a banner
marked with a cross in a circle. The dragon lies dead at his feet. To r.
is a Gothic chapel, witli tlie emblems of the Golden Fleece (St. Andrew’s
cross and the flint and steel) marked upon the tiles of the roof. The
chapel is drawn on so small a scale, in proportion to the figures, that
Maximilian, who kneels on one knee in front of it, lays his gaunt-leted r.
hand on the roof. He wears over his armour a cope with St. George’s
cross upon the clasp, while his helmet is surmounted by the crown of the
King of the Romans.* 1 There is a landscape background wit.h trees
and mountains; Springinklee’s monogram is in the foreground near the r.
lower corner.
[235 x 212.] Late impression, after tlie block had become worm-eaten, on paper
ruled in squares on the back.
Purchased from Messrs. Evans, 1856.
1 For the shape of the crown, compare these personages in the Habsburg pedigree on
the Triumphal Arch who were kings of the Romans but were never crowned as
emperors. They, however, wear the crown with the hoop passing across the head from
1. to r., whcreas here it appears to pass from front to back.