DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0594
Division A.—School of Nuremberg.—Fldtner.
533
series is not preserved, while the few sing-le tiles of the set that are preserved at
Nuremberg, Munich and Prague (Boh. Nat. Mus.) are duplicates of those in the stove
itself. Tlie subjects extant are : Gedion n, Samson iv, .Jonatlian v, David vi, Assa
viii, Josaphat ix, Amassia x, Ezechias xi, Judas Machabeus xn, from the “ Erenport,”
and Goliath v, Serah vn, Achab vin, Nabuchodonosor x, IJolofernes xi, Antiochus xn,
from the “ Schandenport.” The architectural setting of the two series of subjeets
differs in the tiles, as in the woodcuts.
In addition to early impressions of eight of the heroes (nos. 1-4, 9-12), with text, at
Nuremberg, I only know impressions of tlie first two pairs of tyrants (Pharaoh and
Adonibezek, Eglon and Abimelech),1 also early, but without text, at Erlangen, and late
impressions, both at Dresden and London, of the six pairs now to be described. The
whole of the twelve pairs, accordingly, are extant.
Wingenroth says that the attribution to Flbtner was proposed by Dr. W. Schmidt,
and that he himself is inclined to accept it. He recognises, at any rate, the style of a
Nuremberg master of the second quarter of the xvi century, who has used the forms
of the Renaissance in North Italy with intelligence. The impressions at Erlangen,
however, were already attributed to Flotner by Dr. Zucker, when I saw them in ] 896.
I adopted the attribution at once, and my conviction that it is correct has deepened
with time. Comparison with this series would help to dispel such doubts as Lange has
expressed with regard to Flbtner’s authorship in the entire set of illustrations to the
poem of Burckhard Waldis.
8. JONATHAN AND DAYID. (Nos. 5 and 6 of the ITeroes.)
Jonathan, in a plain helmet with the visor up, faces three-quarters
to r.; he wears a cuirass over ring-mail armour; both his gauntleted
hands rest on the ledge in front of him. David, in a helmet surmounted
by a small crown, looks up to 1. and leans his head on his 1. hand ; in
his r. hand he holds a harp.
9. ABIJAH AND ASA. (Nos. 7 and 8 of tlie Heroes.)
Abijah, in Roman armour and an ornamental crowned helmet with
long plumes, is seen in profile to r. ; his arms, crossed at the wristj are
propped on the parapet. Asa, in a similar helmet with different plumes,
in three-quarter face to 1., converses with him, gesticulating with the r.
hand.
The half-columns seen to 1. and r. of each pair of heroes are additions,
peculiar to these late impressions, for in the early impression at Nurem-
berg no column divides Gideon, in the first pair, from Jephthah, in the
second; the half-length figures are entirely cletached against the air, and
there is no architectural frame above the parapet. Moreover, the outlines
of the separate blocks on which the columns are cut can be clearly seen.
In the series of tyrants, on the other hand, the half-columns form an
integral part of the original block. At Dresden the four heroes (5-8) are
on an undivided sheet, with columns at the extremity of each pair, as here.
10. GOLIATH AND SAUL. (Nos. 5 and 6 of the Tyrants.)
Goliath, in armour, with a long beard, three-quarter face to r., has a
massive shield slung over his shoulclers on a chain. Saul, in plate-armour,
wearing a crowned helmet with long plumes, holds a clrawn sworcl upright
before him.
1 As the tiles give no assistance, it is impossible to tell wliich of the woodcuts at
Erlangen represents the first pair and which the second. I venture to name them thus
because the four pairs in tlie British Museum can be identified, by aid of the tiles, with
tyrants 5-12, while tlie attributes of the four tyrants at Erlangen are different from any
of those represented here.
533
series is not preserved, while the few sing-le tiles of the set that are preserved at
Nuremberg, Munich and Prague (Boh. Nat. Mus.) are duplicates of those in the stove
itself. Tlie subjects extant are : Gedion n, Samson iv, .Jonatlian v, David vi, Assa
viii, Josaphat ix, Amassia x, Ezechias xi, Judas Machabeus xn, from the “ Erenport,”
and Goliath v, Serah vn, Achab vin, Nabuchodonosor x, IJolofernes xi, Antiochus xn,
from the “ Schandenport.” The architectural setting of the two series of subjeets
differs in the tiles, as in the woodcuts.
In addition to early impressions of eight of the heroes (nos. 1-4, 9-12), with text, at
Nuremberg, I only know impressions of tlie first two pairs of tyrants (Pharaoh and
Adonibezek, Eglon and Abimelech),1 also early, but without text, at Erlangen, and late
impressions, both at Dresden and London, of the six pairs now to be described. The
whole of the twelve pairs, accordingly, are extant.
Wingenroth says that the attribution to Flbtner was proposed by Dr. W. Schmidt,
and that he himself is inclined to accept it. He recognises, at any rate, the style of a
Nuremberg master of the second quarter of the xvi century, who has used the forms
of the Renaissance in North Italy with intelligence. The impressions at Erlangen,
however, were already attributed to Flotner by Dr. Zucker, when I saw them in ] 896.
I adopted the attribution at once, and my conviction that it is correct has deepened
with time. Comparison with this series would help to dispel such doubts as Lange has
expressed with regard to Flbtner’s authorship in the entire set of illustrations to the
poem of Burckhard Waldis.
8. JONATHAN AND DAYID. (Nos. 5 and 6 of the ITeroes.)
Jonathan, in a plain helmet with the visor up, faces three-quarters
to r.; he wears a cuirass over ring-mail armour; both his gauntleted
hands rest on the ledge in front of him. David, in a helmet surmounted
by a small crown, looks up to 1. and leans his head on his 1. hand ; in
his r. hand he holds a harp.
9. ABIJAH AND ASA. (Nos. 7 and 8 of tlie Heroes.)
Abijah, in Roman armour and an ornamental crowned helmet with
long plumes, is seen in profile to r. ; his arms, crossed at the wristj are
propped on the parapet. Asa, in a similar helmet with different plumes,
in three-quarter face to 1., converses with him, gesticulating with the r.
hand.
The half-columns seen to 1. and r. of each pair of heroes are additions,
peculiar to these late impressions, for in the early impression at Nurem-
berg no column divides Gideon, in the first pair, from Jephthah, in the
second; the half-length figures are entirely cletached against the air, and
there is no architectural frame above the parapet. Moreover, the outlines
of the separate blocks on which the columns are cut can be clearly seen.
In the series of tyrants, on the other hand, the half-columns form an
integral part of the original block. At Dresden the four heroes (5-8) are
on an undivided sheet, with columns at the extremity of each pair, as here.
10. GOLIATH AND SAUL. (Nos. 5 and 6 of the Tyrants.)
Goliath, in armour, with a long beard, three-quarter face to r., has a
massive shield slung over his shoulclers on a chain. Saul, in plate-armour,
wearing a crowned helmet with long plumes, holds a clrawn sworcl upright
before him.
1 As the tiles give no assistance, it is impossible to tell wliich of the woodcuts at
Erlangen represents the first pair and which the second. I venture to name them thus
because the four pairs in tlie British Museum can be identified, by aid of the tiles, with
tyrants 5-12, while tlie attributes of the four tyrants at Erlangen are different from any
of those represented here.