DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0571
510 Early G-erman and Flemish Woodeuts.—Fart 11.
Doubtful Cuts.
21. [CELTES.] Quatuor Libri Amorum. Printed for the Sodalitas
Celtica, Nuremberg, 5 April, 1502; fol. (Panzer, vii, 441, 17.)
I liave been tempted to ascribe to Traut sucb woodcuts in this book as are not by
Diirer, and especially the St. Sebald on sig. p viii r. (see Jahrb. d. hunsthid. Samml. d.
allerh. Kaiserliauses, 1902, xxiii, 51). TJie strongest argument in favour of that
attribution is the resemblance of the vine-branches and clusters of grapes to those on
the woodcut of the arms of Schenrl and Tucher, attributed to Diirer (H. 2146, P. 214;
see below, no 5). But there is an interval of about eleven years between the latter work
and the illustrations of the “ Quatuor Libri Amorum ” and Roswitha’s Comedies. The
uninterrupted sequence of illustrations by Traut, which I can trace back confidently
from 1511, tlie date of his first generally accepted work, to 1506, does not encourage me
to bridge the further interval between 1506 and 1502. Nor do the Eoswitha cuts and
those of the Libri Amormn agree between themselves so closely as the works of one
artist in two successive years should do, though both, as I have said, offer analogies to
later works of Traut. I feel compelled to leave the question open, and to regard 1506
as the earliest safe date at wliich to fix the commencement of his career. As regards the
St. Sebald, in particular, Dr. D. Burckhardt informs me that there is a drawing of this
subject at Basle, which may help to throw light on the question. The bad cutting adds
to the difficulty of determining the authorship of this group of illustrutions.
22. [MARY.] Der beschlossen gart des rosenkratz marie. Printed
for Ulrich Pinder, Nuremberg, 9 Oct. 1505; fol. (Muther 896.)
This work contains an immense number of cuts by Nuremberg artists. Some can be
attributed, with various degrees of certainty, to Diirer, Hans von Kulmbach, Baldung
aud Schaufelein. The only cut tliat I am disposed to claim for Traut, and that not
positively, is the illustration in three compartments [251 X 160] on tbe back of the
title-page, repeated on leaf 94 r.
23. [ANDREAS.] Arbor Consanguinitatis cum suis enigmatibus et
Figuris. H. Plolzel, Nuremberg, 23 Dec. 1506; 4to. (Panzer, vii, 443,
29.)
Seven diagrams in this book (a ii v., b iii v., c ii r., d i r., d ii v., d iv v., e ii v.) may
possibly have been drawn by Traut. The leaves are in his manner, but it must be
owned that the human heads in the middle of the first and last diagrams are not.
Doubtful Cuts.
21. [CELTES.] Quatuor Libri Amorum. Printed for the Sodalitas
Celtica, Nuremberg, 5 April, 1502; fol. (Panzer, vii, 441, 17.)
I liave been tempted to ascribe to Traut sucb woodcuts in this book as are not by
Diirer, and especially the St. Sebald on sig. p viii r. (see Jahrb. d. hunsthid. Samml. d.
allerh. Kaiserliauses, 1902, xxiii, 51). TJie strongest argument in favour of that
attribution is the resemblance of the vine-branches and clusters of grapes to those on
the woodcut of the arms of Schenrl and Tucher, attributed to Diirer (H. 2146, P. 214;
see below, no 5). But there is an interval of about eleven years between the latter work
and the illustrations of the “ Quatuor Libri Amorum ” and Roswitha’s Comedies. The
uninterrupted sequence of illustrations by Traut, which I can trace back confidently
from 1511, tlie date of his first generally accepted work, to 1506, does not encourage me
to bridge the further interval between 1506 and 1502. Nor do the Eoswitha cuts and
those of the Libri Amormn agree between themselves so closely as the works of one
artist in two successive years should do, though both, as I have said, offer analogies to
later works of Traut. I feel compelled to leave the question open, and to regard 1506
as the earliest safe date at wliich to fix the commencement of his career. As regards the
St. Sebald, in particular, Dr. D. Burckhardt informs me that there is a drawing of this
subject at Basle, which may help to throw light on the question. The bad cutting adds
to the difficulty of determining the authorship of this group of illustrutions.
22. [MARY.] Der beschlossen gart des rosenkratz marie. Printed
for Ulrich Pinder, Nuremberg, 9 Oct. 1505; fol. (Muther 896.)
This work contains an immense number of cuts by Nuremberg artists. Some can be
attributed, with various degrees of certainty, to Diirer, Hans von Kulmbach, Baldung
aud Schaufelein. The only cut tliat I am disposed to claim for Traut, and that not
positively, is the illustration in three compartments [251 X 160] on tbe back of the
title-page, repeated on leaf 94 r.
23. [ANDREAS.] Arbor Consanguinitatis cum suis enigmatibus et
Figuris. H. Plolzel, Nuremberg, 23 Dec. 1506; 4to. (Panzer, vii, 443,
29.)
Seven diagrams in this book (a ii v., b iii v., c ii r., d i r., d ii v., d iv v., e ii v.) may
possibly have been drawn by Traut. The leaves are in his manner, but it must be
owned that the human heads in the middle of the first and last diagrams are not.