DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0584
523
Division A.—School of Nuremberg.—Traut.
Impressions of tlie first state, with date and monogram, are rare. An impression at
Berlin lias in the lower margin, “ Ein gepet von dem abschyd unnsers hern Jesu Christi,
von Beiner erwelten | muter der junckfrawen Maria Am dornstag vor seinem leyden.”
P. describes an impression in tlie Klugkist colleotion at Bremen (now in the Kunstkalle)
with 28 verses, “ Gedruckt durch Johannes Stiichs” (Weller, “ Bepert. Typogr.”
Suppl. p. 15, no. 129). The block is in the Derschau collection, and modem
impressions of the second state are to be found in Becker (B 4).
19. ST. AUGUSTINE. 1518. H. 2010. P. iii, 203, 245. Nagl. Mon. iii, 24S, 25.
St. Augustine, in monastic habit, holds a book in his 1. hand and
points with his r. hand to a pool of water, which a naked child (Jesus) is
trying to empty with a spoon. Another monk, with a book in his r.
hand, stands behind the saint. At a little distance to 1. are the chapel
and other buildings of a monastery; a monk stands by the open gate.
Over the convent roofs the Blessed Trinity appears in the sky. Land-
scape background with trees and a fortress on a small hill r. Near St.
Augustine’s r. hand we see his emblem, a heart pierced by an arrow ;
under his 1. foot is the date 1518. No signature ; single border.
[290 x 206.] Late impression ; no early ones appear to exist.
Purchased from Mr. Stevens, 1867.
Another impression is pasted in a copy of the Bursfeld Benedictine Missal printed
by Drach at Spires, 1498, in the Dept. of Printed Books (Proctor 2397). The woodcut,
formerly attributed at random to Diirer, Cranach or Burgkmair, was first ascribed to
Traut by Dr. W. Schmidt in 1889 (Rejpertorium, xii, 302). The Munich impression is
reproduced and attributed to Traut in Hirth and Mutlier’s “ Meister-Holzschnitte,” 1893
(no. 60). The attribution is certainly right.
The vision of the Trinity, and tlie child with a spoon, allude to St. Augustine’s story
that when he was composing his work on the Trinity he met a child ladling out the
sea with a spoon, who said that his own task was no more hopeless than the theologian’s
attempt to fathom so great a mystery.
Certain other woodcuts, aiready described in Section II, have a claim, on various
grounds, to be attributed to Traut:—
P. 356, no. 20. St. Jerome (1511 ?). H. 2016. P. 188.
P. 362. t The Gardener (1513?). P. 196.
P. 365. f Tke Arms of Scheurl and Fiitterer (afterwards Zingel, then Geuder)
(1519?). B. 164. H. 1943. Apart from the probability that Traut, who designed the
large book-plate with tlie Scheurl and Tucher arms about 1512, would be employed
again by Scheurl after his marriage in 1519 (if the state with the Fiitterer arms be
really tlie very first, which is not certain), I would call attention cspecially to the features
of the genius who holds the tablet, and ask that they may be compared with sevcral
faces in nos. 13 and 14 of the woodcuts that I attribute positively to Traut.
P. 367, no. 45. The Arms of Stabius. B. 165. H. 1944.
Two other woodcuts in the same section, nos. 10 and 24, have been attributed to
Traut, but wrongly, as I am convinced, by Dr. W. Schmidt (Bepertorium, xvi, 308;
Chronilt /. vervielf. Kunst, iv, 57).
Division A.—School of Nuremberg.—Traut.
Impressions of tlie first state, with date and monogram, are rare. An impression at
Berlin lias in the lower margin, “ Ein gepet von dem abschyd unnsers hern Jesu Christi,
von Beiner erwelten | muter der junckfrawen Maria Am dornstag vor seinem leyden.”
P. describes an impression in tlie Klugkist colleotion at Bremen (now in the Kunstkalle)
with 28 verses, “ Gedruckt durch Johannes Stiichs” (Weller, “ Bepert. Typogr.”
Suppl. p. 15, no. 129). The block is in the Derschau collection, and modem
impressions of the second state are to be found in Becker (B 4).
19. ST. AUGUSTINE. 1518. H. 2010. P. iii, 203, 245. Nagl. Mon. iii, 24S, 25.
St. Augustine, in monastic habit, holds a book in his 1. hand and
points with his r. hand to a pool of water, which a naked child (Jesus) is
trying to empty with a spoon. Another monk, with a book in his r.
hand, stands behind the saint. At a little distance to 1. are the chapel
and other buildings of a monastery; a monk stands by the open gate.
Over the convent roofs the Blessed Trinity appears in the sky. Land-
scape background with trees and a fortress on a small hill r. Near St.
Augustine’s r. hand we see his emblem, a heart pierced by an arrow ;
under his 1. foot is the date 1518. No signature ; single border.
[290 x 206.] Late impression ; no early ones appear to exist.
Purchased from Mr. Stevens, 1867.
Another impression is pasted in a copy of the Bursfeld Benedictine Missal printed
by Drach at Spires, 1498, in the Dept. of Printed Books (Proctor 2397). The woodcut,
formerly attributed at random to Diirer, Cranach or Burgkmair, was first ascribed to
Traut by Dr. W. Schmidt in 1889 (Rejpertorium, xii, 302). The Munich impression is
reproduced and attributed to Traut in Hirth and Mutlier’s “ Meister-Holzschnitte,” 1893
(no. 60). The attribution is certainly right.
The vision of the Trinity, and tlie child with a spoon, allude to St. Augustine’s story
that when he was composing his work on the Trinity he met a child ladling out the
sea with a spoon, who said that his own task was no more hopeless than the theologian’s
attempt to fathom so great a mystery.
Certain other woodcuts, aiready described in Section II, have a claim, on various
grounds, to be attributed to Traut:—
P. 356, no. 20. St. Jerome (1511 ?). H. 2016. P. 188.
P. 362. t The Gardener (1513?). P. 196.
P. 365. f Tke Arms of Scheurl and Fiitterer (afterwards Zingel, then Geuder)
(1519?). B. 164. H. 1943. Apart from the probability that Traut, who designed the
large book-plate with tlie Scheurl and Tucher arms about 1512, would be employed
again by Scheurl after his marriage in 1519 (if the state with the Fiitterer arms be
really tlie very first, which is not certain), I would call attention cspecially to the features
of the genius who holds the tablet, and ask that they may be compared with sevcral
faces in nos. 13 and 14 of the woodcuts that I attribute positively to Traut.
P. 367, no. 45. The Arms of Stabius. B. 165. H. 1944.
Two other woodcuts in the same section, nos. 10 and 24, have been attributed to
Traut, but wrongly, as I am convinced, by Dr. W. Schmidt (Bepertorium, xvi, 308;
Chronilt /. vervielf. Kunst, iv, 57).