DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0456
Division A.—School of Nuremberg.—SpringinJclee.
413
1. hand. In the 1. upper corner is a placard with the date 1522 over the
monograru [109 x 77].
I have seen but one impression of this 'woodcut, hitherto undescribed; it is in the
Dresden Cabinet. The tree-trunk is almost an exact replica of that in the Creation
of Eve just described. The collocation of these two apostles is very unusual, but they
are identified by their emblems beyond any doubt. There is no evidence to show
whether this print forms part of a set of apostles; it has, in any case, nothing to do
with the series of apostles, two together, illustrating the creed, which was first
published in 1539; for there St. Peter is coupled with St. James the Greater, and
St. Simon, as usual, with St. Jude, while both cuts are dated 1520. The key in the
hand of St. Sirnon is unusual, but a parallel may be found in the title'jnage of the
octavo Latin Bibles printed by Petreius at Nuremberg in 1527 and 1529, in which
all the apostles hold keys.
t A BACCHANTE. 1522. B. vii, 330, 61.
(Reproduction.)
A nude woman kneeling, facing three-quarters to r., and turning her back
to a small tree, holds a bunch of grapes and vine-leaves in her 1. hand, while
with her r. hand she presses milk from her 1. breast. She wears a wreath
of vine-leaves on her head. In the 1. upper corner is a placard with the
date 1522 over the monogram [98 X 78].
Photograph of the unique impression in the Albertina, which was known to
Bartsch. The woodcut is interesting as the mark of a new departure by Springinklee
at the end of his career, both in subject and treatment. The system of shading is
quite unlike tliat wbich he had hitherto used, and the figure is 'drawn with unusual
freedom, though it has very apparent faults.
f THE FALL. (1530. ?)
(Reproduction.)
The thick stem of a tree, leaning a little to 1., divides the composition
nearly into two halves. Adam sits 1. on a stone liolding an apple in his
1. hand, and looks upwards at Eve, who stands on the r. side of the tree
holding in her 1. hand a twig from which Adam has just plucked the
apple, while in her r. hand, hanging at her side, she holds another twig
with an apple on it. The serpent, coiled round the tree, holds the stalk
of a third apple in its mouth. Mountains in background r., small shrubs,
drawn in Springinklee’s most characteristic manner, to 1. of the thick stem.
Not signed.
[48 x 57.] Placed betweentwo upright ornamental panels of foliage [eacb 48x13].
Photographed from sig a i v. of the folio Latin Bible printed by F. Peypus, 1530,
Munich, Hof- u. Staatsbibliothek.
This is the first of forty-nine new cuts used in this Bible for the first time, though
they are very likely of earlier date (1522-3?). The nine cuts to Genesis are probably
by Springinklee, the rest by Schon. The majority are founded on the larger cuts used
in the Lyons Vulgates, 1518-1522, but others, of which this is, perhaps, the most
favourable specimen, are independently designed.
[82-84.]
TITLE-PAGES FOR BOOKS PRINTED BY PEYPUS AFTER 1520.
82. BOEDER WITIP A BASKET OF FRUIT. Butsch i, p. 28.
On either side are candelabra with dolphins and foliage on a back-
ground shaded horizontally. Between these is an upright frame with
413
1. hand. In the 1. upper corner is a placard with the date 1522 over the
monograru [109 x 77].
I have seen but one impression of this 'woodcut, hitherto undescribed; it is in the
Dresden Cabinet. The tree-trunk is almost an exact replica of that in the Creation
of Eve just described. The collocation of these two apostles is very unusual, but they
are identified by their emblems beyond any doubt. There is no evidence to show
whether this print forms part of a set of apostles; it has, in any case, nothing to do
with the series of apostles, two together, illustrating the creed, which was first
published in 1539; for there St. Peter is coupled with St. James the Greater, and
St. Simon, as usual, with St. Jude, while both cuts are dated 1520. The key in the
hand of St. Sirnon is unusual, but a parallel may be found in the title'jnage of the
octavo Latin Bibles printed by Petreius at Nuremberg in 1527 and 1529, in which
all the apostles hold keys.
t A BACCHANTE. 1522. B. vii, 330, 61.
(Reproduction.)
A nude woman kneeling, facing three-quarters to r., and turning her back
to a small tree, holds a bunch of grapes and vine-leaves in her 1. hand, while
with her r. hand she presses milk from her 1. breast. She wears a wreath
of vine-leaves on her head. In the 1. upper corner is a placard with the
date 1522 over the monogram [98 X 78].
Photograph of the unique impression in the Albertina, which was known to
Bartsch. The woodcut is interesting as the mark of a new departure by Springinklee
at the end of his career, both in subject and treatment. The system of shading is
quite unlike tliat wbich he had hitherto used, and the figure is 'drawn with unusual
freedom, though it has very apparent faults.
f THE FALL. (1530. ?)
(Reproduction.)
The thick stem of a tree, leaning a little to 1., divides the composition
nearly into two halves. Adam sits 1. on a stone liolding an apple in his
1. hand, and looks upwards at Eve, who stands on the r. side of the tree
holding in her 1. hand a twig from which Adam has just plucked the
apple, while in her r. hand, hanging at her side, she holds another twig
with an apple on it. The serpent, coiled round the tree, holds the stalk
of a third apple in its mouth. Mountains in background r., small shrubs,
drawn in Springinklee’s most characteristic manner, to 1. of the thick stem.
Not signed.
[48 x 57.] Placed betweentwo upright ornamental panels of foliage [eacb 48x13].
Photographed from sig a i v. of the folio Latin Bible printed by F. Peypus, 1530,
Munich, Hof- u. Staatsbibliothek.
This is the first of forty-nine new cuts used in this Bible for the first time, though
they are very likely of earlier date (1522-3?). The nine cuts to Genesis are probably
by Springinklee, the rest by Schon. The majority are founded on the larger cuts used
in the Lyons Vulgates, 1518-1522, but others, of which this is, perhaps, the most
favourable specimen, are independently designed.
[82-84.]
TITLE-PAGES FOR BOOKS PRINTED BY PEYPUS AFTER 1520.
82. BOEDER WITIP A BASKET OF FRUIT. Butsch i, p. 28.
On either side are candelabra with dolphins and foliage on a back-
ground shaded horizontally. Between these is an upright frame with