DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0550
Division A.—School of Nuremlerg.—Anonymous.
495
1. and r. are sun ancl moon; in the background mountains and trees.
Single border.
[170 X 358.] Rather late impression; watermark, a horse with somc oval object
above it.
Purchased at the Brentano sale, 1870 (lot 132).
Hardly good enough for “ Pseudo-Beham.”
8. THE THEOLOG-ICAL AND CARDINAL YIRTUES.
Faith, Charity, Hope, Prudence, Justice, Temperance and Fortitude
are represented by groups of women, placed, in the order named, in an
architectural setting, which is not connectecl throughout, but difterent in
character at each compartment; Justice ancl Temperance form the only
exception to this. The whole is cut on two blocks; the join occurs in
the midst of the compartment representing Prudence. Single borcler.
[195 X 735.] A rather late impression. No watermark.
In the inventory of 1837.
This undescribed woodcut can hardly be by “ Pseudo-Beham,” while it has much in
common with some of the subjects that follow (e.g. nos. 10-12 and 15). It contains two
obvious imitations of Beham: the figure of the Almighty above the group of Justice,
and the emblems of the world, Deatli and the Devil, in the group of Fortitude, which
may hc compared with Pauli 878 (p. 459, no. 104).
9. THE RIDER AND TIIE NINE MUSES.
B. 166. R. 266. A. 260. S. 294. Pauli 1422,
The ricler, who halts near the entrance of a wood, is met by the Muses
rumiing towards him along a path from 1. to r., in rows of three, with
scrolls in their hands or flubtering over their heads. No signature. Single
border.
[176 x 285.] Late but old impression, with no lettering in the scrolls. Watermark,
an escutcheon.
In the inventory of 1837.
This is an illustration of a poem by IJans Sachs, “ Clagred der Neiin Muse oder Kiinst
vber Tciitschlandt,” in which the poet, huntingin the Black Forest in January, meets a
lady whom he takes for Diana attended by her Nymphs. The poem is printed in four
columns under the old impression at Gotha (Sammelband ii, 89), with the date 1535,
Meldemann’s monogram and the address, “ Nicolaus Meldeman Brieffmaler zu Niimberg
am Kornmarckt zu der blaben thiir gegen dem Prunnen uber.” The scrolls contain tho
names of the Muses printed with type in the foilowing order (from 1. to r.), Caliope,
Vrania, Terpsicore, Eratho, Polimnia, Thalia, Melpomene, Euterpe, Clio. Another early
impression, in the university library at Erlangen, has Meldemann’s monogram heneath
the tliird Muse from the left, but not the date or printed title. Neither impression lias
any other signature than that of the wood-engraver.
The woodcut has been attributed to Schaufelein by Seidlitz and Pauli on the strength
of tlie monogram IJS, altered by hand to HSB, in ihe r. upper corner of the Dresden
impression. This monogram, however, whether inserted in the block or stamped on, is
of no importance in comparison with the evidence of style and the absence of any
signature except Meldemann’s on the earlier impressions describcd above. The drawing
of this woodcut cannot be reconciled with the style of Schaufelein in 1535, or indeed at
any date. The work stands much nearcr to Beham; see, for instance, the treatment of
the trees in the Stag-Hunt, Pauli 1224. Another cut with Meldemann’s mark, at
Erlangen and Gotlia, a shepherd pointing out the way to a huntsman wliile a wolf
looks out of a caYe 1., is by the same artist; the trees have their roots out of the ground.
(See Repertorium, xxv, 470.) Other cuts in this style are at Gotha. A srnall, reversed
copy of the present woodcut [75 x 65] occurs in “Klagredt der Neun Muse oder Iviinst
uber gantz Teutschlandt,” printed by G. Merckel, Nurcmberg, 1553.
495
1. and r. are sun ancl moon; in the background mountains and trees.
Single border.
[170 X 358.] Rather late impression; watermark, a horse with somc oval object
above it.
Purchased at the Brentano sale, 1870 (lot 132).
Hardly good enough for “ Pseudo-Beham.”
8. THE THEOLOG-ICAL AND CARDINAL YIRTUES.
Faith, Charity, Hope, Prudence, Justice, Temperance and Fortitude
are represented by groups of women, placed, in the order named, in an
architectural setting, which is not connectecl throughout, but difterent in
character at each compartment; Justice ancl Temperance form the only
exception to this. The whole is cut on two blocks; the join occurs in
the midst of the compartment representing Prudence. Single borcler.
[195 X 735.] A rather late impression. No watermark.
In the inventory of 1837.
This undescribed woodcut can hardly be by “ Pseudo-Beham,” while it has much in
common with some of the subjects that follow (e.g. nos. 10-12 and 15). It contains two
obvious imitations of Beham: the figure of the Almighty above the group of Justice,
and the emblems of the world, Deatli and the Devil, in the group of Fortitude, which
may hc compared with Pauli 878 (p. 459, no. 104).
9. THE RIDER AND TIIE NINE MUSES.
B. 166. R. 266. A. 260. S. 294. Pauli 1422,
The ricler, who halts near the entrance of a wood, is met by the Muses
rumiing towards him along a path from 1. to r., in rows of three, with
scrolls in their hands or flubtering over their heads. No signature. Single
border.
[176 x 285.] Late but old impression, with no lettering in the scrolls. Watermark,
an escutcheon.
In the inventory of 1837.
This is an illustration of a poem by IJans Sachs, “ Clagred der Neiin Muse oder Kiinst
vber Tciitschlandt,” in which the poet, huntingin the Black Forest in January, meets a
lady whom he takes for Diana attended by her Nymphs. The poem is printed in four
columns under the old impression at Gotha (Sammelband ii, 89), with the date 1535,
Meldemann’s monogram and the address, “ Nicolaus Meldeman Brieffmaler zu Niimberg
am Kornmarckt zu der blaben thiir gegen dem Prunnen uber.” The scrolls contain tho
names of the Muses printed with type in the foilowing order (from 1. to r.), Caliope,
Vrania, Terpsicore, Eratho, Polimnia, Thalia, Melpomene, Euterpe, Clio. Another early
impression, in the university library at Erlangen, has Meldemann’s monogram heneath
the tliird Muse from the left, but not the date or printed title. Neither impression lias
any other signature than that of the wood-engraver.
The woodcut has been attributed to Schaufelein by Seidlitz and Pauli on the strength
of tlie monogram IJS, altered by hand to HSB, in ihe r. upper corner of the Dresden
impression. This monogram, however, whether inserted in the block or stamped on, is
of no importance in comparison with the evidence of style and the absence of any
signature except Meldemann’s on the earlier impressions describcd above. The drawing
of this woodcut cannot be reconciled with the style of Schaufelein in 1535, or indeed at
any date. The work stands much nearcr to Beham; see, for instance, the treatment of
the trees in the Stag-Hunt, Pauli 1224. Another cut with Meldemann’s mark, at
Erlangen and Gotlia, a shepherd pointing out the way to a huntsman wliile a wolf
looks out of a caYe 1., is by the same artist; the trees have their roots out of the ground.
(See Repertorium, xxv, 470.) Other cuts in this style are at Gotha. A srnall, reversed
copy of the present woodcut [75 x 65] occurs in “Klagredt der Neun Muse oder Iviinst
uber gantz Teutschlandt,” printed by G. Merckel, Nurcmberg, 1553.