DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0574
Division A.—School of Nuremberg.—Traut.
513
f FOUR SUBJEOTS FROM A PASSION SERIES. 1510.
(Reproductions.)
(1) Aclam ancl Eve. The date 1510 is on a tablet suspended from
the branch of a tree r.
(2) The Entry into Jerusalem.
(3) The Last Supper.
(4) The Maries find the angel seated on the sepulchre.
These subjects are selected from a series of 33 Passion cuts [c. 68 x 50, witli
ornamental border, 54 X 40 without it], which occur in the Bohemian N.T. (Nowy
Zakon) printed by Jan Pek at Pilsen, 1527 ('see p. 435). The series opens with tlie
Fall and Expulsion from Paradise. Nos. 3-9 relate the early life of Christ, from the
Annunciation to the Presentation in the Temple. The Passion proper opens with the
Entry into Jerusalem (no. 10), and concludes with the Entombment (no. 27). Five
woodcuts are devoted to the Resurrection and the events that followed it, including the
Ascension (no. 32), and the series concludes with the Last Judgment. Each subject is
enclosed by an ornamenfal border, not a passe-pcirtout, but drawn with tlie subject on
the block and varied in every case. The patterns are either geometrical or composed of
fruit, flowers, wreaths, and Renaissance ornaments. In one case (no 16) the pattern
is white on a black ground, elsewhere always black on white.
The woodcuts are ugly, but more original than most of Traut’s work. Tliey must
have been used in an earlier book than this N.T., but I iind none described in which
they could liave appeared. A single subject, the Crucifixion, occurs in a work of
Erasmus printed by Pek at Pilsen in 1526 (Bohemian National Museum, Prague, 25 E 4).
Twenty-five impressions, without the borders and without text, are in the Kunsthalle
at Hamburg (Catalogue, p. 296) ; Dr. Dornlioffer found some of the cuts at Gfotha.
3. THE ADORATION OF THE SACRED PIEART.
The sacrecl heart, crowned, with a crucifix before it, is surrounded,
firstly, by a scroll inscribed virgo mater maria, and secondly, by the cord
of the Franciscan order, knotted below. Over the cord stands a Tau cross
with the letters inri, interrupting the inscription, “ O heiliger got O starcker
got : : | O vntotlicher got : : Erparm dich vnnser : : ,” which is cut in two
lines at the top of the print. Below, the Virgin 1. and a monastic saint r.,
carrying a fish, kneel in a meadow beyond which a distant hill is seen. A
scroll over the Virgin’s head is inscribed, “ Hic est filius me5 dilectus | quem
gens crucifixit : : ” Over the monk’s head is a similar scroll, with the
words, “ Adoramus te Jesu christe | et benedicimus tibi.” Single border.
[143 x 96.] G-ood impressiou on a ratber coarse paper, witbout watermark. Partly
tiuted in water-colour, crimson, blue, dull blue-green, yellow ; tbe sky remains wbite.
Purcbased from Mr. Cobn, 1880.
4. TPIE EMBLEMS OF TIPE PASSION DISPLAYED IIERALDICALLY.
The instruments of the Passion are blazoned in great detail on an
escutcheon with a crowned helm and mantling. The hand of G-od, giving
the benediction, is the crest; the supporters are Christ and our Lady. In
the corners are the emblems of the four Evangelists. Single border.
[144 x 96.] Good impression, coloured in tbe same way as no. 3, and printed on
tbe same slieet of paper, at a distance of 51 mm. to r.
Purchased from Mr. Cobn, 1880.
Tbese two woodcuts are undescribed and rare. Anotber impression of no. 4 is at
Erlangen. I was disposed at one time to regard them as early works of Springinldee,
for tlie type of tbe Virgin resembles that of bis first set of illustrations (1516) to tbe
“ Hortulus Animae.” Compare, on tbe otber band, the Virgin in tbe Crucifixion of
1507, whicli I attribute to Traut. I am strongly reminded by certain details of Wolf
Traut’s woodcuts in tbe Halle Heiligthumsbuch (1520). Clirist, in no. 4, is especially
2 L
513
f FOUR SUBJEOTS FROM A PASSION SERIES. 1510.
(Reproductions.)
(1) Aclam ancl Eve. The date 1510 is on a tablet suspended from
the branch of a tree r.
(2) The Entry into Jerusalem.
(3) The Last Supper.
(4) The Maries find the angel seated on the sepulchre.
These subjects are selected from a series of 33 Passion cuts [c. 68 x 50, witli
ornamental border, 54 X 40 without it], which occur in the Bohemian N.T. (Nowy
Zakon) printed by Jan Pek at Pilsen, 1527 ('see p. 435). The series opens with tlie
Fall and Expulsion from Paradise. Nos. 3-9 relate the early life of Christ, from the
Annunciation to the Presentation in the Temple. The Passion proper opens with the
Entry into Jerusalem (no. 10), and concludes with the Entombment (no. 27). Five
woodcuts are devoted to the Resurrection and the events that followed it, including the
Ascension (no. 32), and the series concludes with the Last Judgment. Each subject is
enclosed by an ornamenfal border, not a passe-pcirtout, but drawn with tlie subject on
the block and varied in every case. The patterns are either geometrical or composed of
fruit, flowers, wreaths, and Renaissance ornaments. In one case (no 16) the pattern
is white on a black ground, elsewhere always black on white.
The woodcuts are ugly, but more original than most of Traut’s work. Tliey must
have been used in an earlier book than this N.T., but I iind none described in which
they could liave appeared. A single subject, the Crucifixion, occurs in a work of
Erasmus printed by Pek at Pilsen in 1526 (Bohemian National Museum, Prague, 25 E 4).
Twenty-five impressions, without the borders and without text, are in the Kunsthalle
at Hamburg (Catalogue, p. 296) ; Dr. Dornlioffer found some of the cuts at Gfotha.
3. THE ADORATION OF THE SACRED PIEART.
The sacrecl heart, crowned, with a crucifix before it, is surrounded,
firstly, by a scroll inscribed virgo mater maria, and secondly, by the cord
of the Franciscan order, knotted below. Over the cord stands a Tau cross
with the letters inri, interrupting the inscription, “ O heiliger got O starcker
got : : | O vntotlicher got : : Erparm dich vnnser : : ,” which is cut in two
lines at the top of the print. Below, the Virgin 1. and a monastic saint r.,
carrying a fish, kneel in a meadow beyond which a distant hill is seen. A
scroll over the Virgin’s head is inscribed, “ Hic est filius me5 dilectus | quem
gens crucifixit : : ” Over the monk’s head is a similar scroll, with the
words, “ Adoramus te Jesu christe | et benedicimus tibi.” Single border.
[143 x 96.] G-ood impressiou on a ratber coarse paper, witbout watermark. Partly
tiuted in water-colour, crimson, blue, dull blue-green, yellow ; tbe sky remains wbite.
Purcbased from Mr. Cobn, 1880.
4. TPIE EMBLEMS OF TIPE PASSION DISPLAYED IIERALDICALLY.
The instruments of the Passion are blazoned in great detail on an
escutcheon with a crowned helm and mantling. The hand of G-od, giving
the benediction, is the crest; the supporters are Christ and our Lady. In
the corners are the emblems of the four Evangelists. Single border.
[144 x 96.] Good impression, coloured in tbe same way as no. 3, and printed on
tbe same slieet of paper, at a distance of 51 mm. to r.
Purchased from Mr. Cobn, 1880.
Tbese two woodcuts are undescribed and rare. Anotber impression of no. 4 is at
Erlangen. I was disposed at one time to regard them as early works of Springinldee,
for tlie type of tbe Virgin resembles that of bis first set of illustrations (1516) to tbe
“ Hortulus Animae.” Compare, on tbe otber band, the Virgin in tbe Crucifixion of
1507, whicli I attribute to Traut. I am strongly reminded by certain details of Wolf
Traut’s woodcuts in tbe Halle Heiligthumsbuch (1520). Clirist, in no. 4, is especially
2 L