DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0588
Division A.—School of Nuremberg.—Fldtner.
527
(10) C iii v. Ariouistus eiu Konig aller Deutschen. Copied in reverse from
Burgkmair’s King Arthur (in B. 64), with the same arms.
(11) C iv v. Arminius ein Fiirst zu Sachssen. The hody of Yarus lies prone on
the ground, and Arminius holds the severed head. Repr. Domanig, p. 17.
(12) D i v. Carolus Magnus der erst Deutsche Keyser. A copy in the same
direction of Burgkmair’s Csesar Carolus (in B. 64).
A good copy of the hook, which is rare ; the woodcuts aro not coloured.
Purchased from IPerr Gutekunst, 1S74.
Gr. Milchsack1 has described two variants of this edition, botli represented in the
Wolfenhiittel library. The readiest criterion by which they may be distinguished is
the date on the title-page, under the eagle. A has m.d. xltii., B 1543. This copy
and another in the Department of Printed Books, with the woodcuts coloured, belong
to edition A, which also occurs at Berlin. Edition B occurs in the Allerh. Privat-
und Fideicommissbibiiothek at Yienna.
Copies of some of the cuts occur in Lazius, “ De gentium aliquot migrationibus.”
1557. A free repetition of the cycle, in the form of silver reliefs, by Fliitner himself,
is in the imperial collection at Yienna. (See Domanig, pp. 11-19.) D. argues that the
woodcuts must liave been finished long before 1543, because the figure of Wandalus
recurs, with alterations, as Attila on leaf 11 of the “ IPungern Chronica,” 1534; but the
resemblance soems to me much too slight to warrant any such conclusion. Reimers,
Schmidt and Domanig attribute the whole series to Flbtner, while Lange recognises
only four woodcuts, nos. 1, 8, 9 and 11, wliich agree with the reliefs, as his work.
2. [ROMAN EMPERORS.] Imperatorum Romanorum omnium
Orientalium et Occiclentalium verissimae Imagines. Andreas Gesner,
Ziiricli, 1559 j fol.
Scattered throughout the book, on the verso of the leaves, are almost the whole of
the arabesques of Flbtner,2 including a few designs for handles and sheaths of daggers,
but consisting mainly of designs for intarsia, which had been first published as a
complete set of forty in book form by Rudolph Wyssenbach at Ziiricli in 1549. The
only one signed is the grotesque panel, P. 29, Reimers 79 (repr. fig. 18), witli Flbtner’s
initials and tools and the date 1546.
A fine copy, from the Pirovano sale, 1901.
Reimers (pp. 19-36) attempted to prove that none of tliese designs were by Flbtner
except the signed grotesque and two sheatlis for daggers, which agree with it closely iu
style. He regarded the original issue as a compilation by Wyssenbach from various
sources, chiefly French. Lange, howcver (pp. 39-44), has succeeded completely in
re-establishing Flotner’s claim to the authorship of tlie whole series. The strongest
proof is afforded by the signed ornament at tlie foot of a column reproduced by Lange
on p. 42.
Reimers (p. 31) denies the identity of the blocks employed by Gtesner in the present
work, and in a new edition of the ornaments alone in 1560, witlr those originally
published by Wyssenbach in 1549. He is not sure himself whether the whole, or only
a part, are copies, and I am unable without access to a copy of Wyssenbacli’s edition,
to ascertain the facts. The diiference, however, if it exists, is exceedingly rninute,
and Flotner’s design may be studied to equal advantage in Gresner’s edition. Wyssen-
bach’s edition was reproduced in facsimile at Berlin in 1882, with the title “ Das
Kunstbuch des Peter Flbtner.”
B.—In thb Department of Peinted Books.
1. [HUNGARIANS.] Der Hungern Chronica . . . Im druck yetz
new auszgangen. Anno 1534. Printed for Hans Metzker, Vienna,
1534 ■, fol.
Nine different cuts in tlie text [c. 83 x 138], five of which are signed, P. iii, 257,13,
Reimers 31-35, 37-40. The larger cut on the title-page [L68 x 135] is also rightly
1 Archiv fur Litteraturcjescliichte, Leipsic, 1882, xi, 171.
2 The numbers missing are given by Reimers, p. 22,
527
(10) C iii v. Ariouistus eiu Konig aller Deutschen. Copied in reverse from
Burgkmair’s King Arthur (in B. 64), with the same arms.
(11) C iv v. Arminius ein Fiirst zu Sachssen. The hody of Yarus lies prone on
the ground, and Arminius holds the severed head. Repr. Domanig, p. 17.
(12) D i v. Carolus Magnus der erst Deutsche Keyser. A copy in the same
direction of Burgkmair’s Csesar Carolus (in B. 64).
A good copy of the hook, which is rare ; the woodcuts aro not coloured.
Purchased from IPerr Gutekunst, 1S74.
Gr. Milchsack1 has described two variants of this edition, botli represented in the
Wolfenhiittel library. The readiest criterion by which they may be distinguished is
the date on the title-page, under the eagle. A has m.d. xltii., B 1543. This copy
and another in the Department of Printed Books, with the woodcuts coloured, belong
to edition A, which also occurs at Berlin. Edition B occurs in the Allerh. Privat-
und Fideicommissbibiiothek at Yienna.
Copies of some of the cuts occur in Lazius, “ De gentium aliquot migrationibus.”
1557. A free repetition of the cycle, in the form of silver reliefs, by Fliitner himself,
is in the imperial collection at Yienna. (See Domanig, pp. 11-19.) D. argues that the
woodcuts must liave been finished long before 1543, because the figure of Wandalus
recurs, with alterations, as Attila on leaf 11 of the “ IPungern Chronica,” 1534; but the
resemblance soems to me much too slight to warrant any such conclusion. Reimers,
Schmidt and Domanig attribute the whole series to Flbtner, while Lange recognises
only four woodcuts, nos. 1, 8, 9 and 11, wliich agree with the reliefs, as his work.
2. [ROMAN EMPERORS.] Imperatorum Romanorum omnium
Orientalium et Occiclentalium verissimae Imagines. Andreas Gesner,
Ziiricli, 1559 j fol.
Scattered throughout the book, on the verso of the leaves, are almost the whole of
the arabesques of Flbtner,2 including a few designs for handles and sheaths of daggers,
but consisting mainly of designs for intarsia, which had been first published as a
complete set of forty in book form by Rudolph Wyssenbach at Ziiricli in 1549. The
only one signed is the grotesque panel, P. 29, Reimers 79 (repr. fig. 18), witli Flbtner’s
initials and tools and the date 1546.
A fine copy, from the Pirovano sale, 1901.
Reimers (pp. 19-36) attempted to prove that none of tliese designs were by Flbtner
except the signed grotesque and two sheatlis for daggers, which agree with it closely iu
style. He regarded the original issue as a compilation by Wyssenbach from various
sources, chiefly French. Lange, howcver (pp. 39-44), has succeeded completely in
re-establishing Flotner’s claim to the authorship of tlie whole series. The strongest
proof is afforded by the signed ornament at tlie foot of a column reproduced by Lange
on p. 42.
Reimers (p. 31) denies the identity of the blocks employed by Gtesner in the present
work, and in a new edition of the ornaments alone in 1560, witlr those originally
published by Wyssenbach in 1549. He is not sure himself whether the whole, or only
a part, are copies, and I am unable without access to a copy of Wyssenbacli’s edition,
to ascertain the facts. The diiference, however, if it exists, is exceedingly rninute,
and Flotner’s design may be studied to equal advantage in Gresner’s edition. Wyssen-
bach’s edition was reproduced in facsimile at Berlin in 1882, with the title “ Das
Kunstbuch des Peter Flbtner.”
B.—In thb Department of Peinted Books.
1. [HUNGARIANS.] Der Hungern Chronica . . . Im druck yetz
new auszgangen. Anno 1534. Printed for Hans Metzker, Vienna,
1534 ■, fol.
Nine different cuts in tlie text [c. 83 x 138], five of which are signed, P. iii, 257,13,
Reimers 31-35, 37-40. The larger cut on the title-page [L68 x 135] is also rightly
1 Archiv fur Litteraturcjescliichte, Leipsic, 1882, xi, 171.
2 The numbers missing are given by Reimers, p. 22,