DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0597
536 Early German and Flemish Woodcuts.—Part II.
Verses by Hans Sachs follow, both above and below the woodeut, and at
the end is the address, “ Gedruckt zu Nurmberg, bey Hans | Weygel
Formschney der. ”
[Woodcut, 213 x 720; sheet, 395 x 750.] Good, old impression, eoloured: the
woodcut with the verses above is ou two sheets, while the verses below are on two more,
the whole being pasted together. Watermarks, small orb and small high crown.
There are craoks in the border-line of the block.
Purchased from Herr Gutekunst, 1877.
On the iconography of this subject see R. Forster, “Die Yerlaumdung des Apelles
in der Renaissance,” Jahrb. d. lc. ■preuss. Kunstsamml. viii, 29, 89, especially p. 99.
The woodcut shows an acquaintance with the painting esecuted in the Nuremberg
Rathaus from a drawing of Diirer’s dated 1522: it keeps closer to the painting than to
the drawing itself, but is fairly independent of both.
Fdrster does not discuss the attribution to Schdn, which has been repeated thought-
lessly by one writer after another since Becker’s publication of impressions from the
Derschau bloek in 1810 (B 58). I have already published my reasons for attributing
the woodcut to Flotner.1 The most convincing argument is the resemblance of the
features to those on Flotner’s playing-cards; Error and Haste especially are typical
Fldtner heads. Weller2 inentions an early edition of the broadside at Gotha, which
lias “Antiocho” instead of “Ptolomeo” in the title; he assigns the publication to
Hans Guldenmund, I do not know on what grounds. The poem is reprinted with the
reading “Antiocho” iu vol. i of the collected poems of H. Sachs, 1558, fol. 431 r. It
is there dated 10 July, 1534; that is doubtless the date of the first publication of
Fldtner’s woodcut, on which the poem is a commentary. Becker reproduces the readiog
“ Antiocho” in his “Hans Sachs im Gewande seiner Zeit,” Gotha 1821, no. 16.
26a. TPIE CALUMNY OF APELLES.
Another impression, of the same edition, but without the verses that should follow
the woodcut.
[Sheet, 265 X 725]. Uncoloured.
Purchased from Messrs. Graves, 1856.
27. TRIUMPHAL ARCH ERECTED AT NUREMBERG IN HONOUR OF
TIIE ENTRY OF CHARLES Y ON 16 FEBRUARY, 1541.
First edition, with the imperial eagle and pillars of Hercules printed
on a separate leaf, attached to the top of the edifice.
[Sheet, 395 x 500; design, 335 x 497; separate leaf, 65 x 139.] Early impression,
on two sheets joined in tlie middle. Watermark, large bull’s head with cross aud
serpent.
Purchased from Messrs. Colnaghi & Co., 1864.
Tliis is the side whichfaced the market-place. with statues of Prudence and Justice.
The insc.riptions over these figures are not given in full, for want of space. They were
as follows :—
1. Quod tibi tam constans faveat victoria Caesar
Non modo fortunae muneris esse puta,
Sacra sed augustum moderans prudentia pectus
Hunc titulum laudis maluit esse suae.
r. Parcere subjectis et debellare superbos
Convenit ingenio Caesar inesse tuo.
Sentiat optatam per te tua turba quietem
Subque iugum per te barbarus liostis eat.
On the other side, towards the castle, were Fortitude and Temperance. The eagle,
we read, was about nine feet high. It bowed and flapped its wings as the Emperor
approached, and after he had passed through the portal it turned towards the castle
and repeated the performance on the other side. These details are taken from a
1 Repert. f. Kunstiv. xx, 208.
2 “Der Volksdichter Hans Sachs,” 1S68, p. 28, no. 32.
Verses by Hans Sachs follow, both above and below the woodeut, and at
the end is the address, “ Gedruckt zu Nurmberg, bey Hans | Weygel
Formschney der. ”
[Woodcut, 213 x 720; sheet, 395 x 750.] Good, old impression, eoloured: the
woodcut with the verses above is ou two sheets, while the verses below are on two more,
the whole being pasted together. Watermarks, small orb and small high crown.
There are craoks in the border-line of the block.
Purchased from Herr Gutekunst, 1877.
On the iconography of this subject see R. Forster, “Die Yerlaumdung des Apelles
in der Renaissance,” Jahrb. d. lc. ■preuss. Kunstsamml. viii, 29, 89, especially p. 99.
The woodcut shows an acquaintance with the painting esecuted in the Nuremberg
Rathaus from a drawing of Diirer’s dated 1522: it keeps closer to the painting than to
the drawing itself, but is fairly independent of both.
Fdrster does not discuss the attribution to Schdn, which has been repeated thought-
lessly by one writer after another since Becker’s publication of impressions from the
Derschau bloek in 1810 (B 58). I have already published my reasons for attributing
the woodcut to Flotner.1 The most convincing argument is the resemblance of the
features to those on Flotner’s playing-cards; Error and Haste especially are typical
Fldtner heads. Weller2 inentions an early edition of the broadside at Gotha, which
lias “Antiocho” instead of “Ptolomeo” in the title; he assigns the publication to
Hans Guldenmund, I do not know on what grounds. The poem is reprinted with the
reading “Antiocho” iu vol. i of the collected poems of H. Sachs, 1558, fol. 431 r. It
is there dated 10 July, 1534; that is doubtless the date of the first publication of
Fldtner’s woodcut, on which the poem is a commentary. Becker reproduces the readiog
“ Antiocho” in his “Hans Sachs im Gewande seiner Zeit,” Gotha 1821, no. 16.
26a. TPIE CALUMNY OF APELLES.
Another impression, of the same edition, but without the verses that should follow
the woodcut.
[Sheet, 265 X 725]. Uncoloured.
Purchased from Messrs. Graves, 1856.
27. TRIUMPHAL ARCH ERECTED AT NUREMBERG IN HONOUR OF
TIIE ENTRY OF CHARLES Y ON 16 FEBRUARY, 1541.
First edition, with the imperial eagle and pillars of Hercules printed
on a separate leaf, attached to the top of the edifice.
[Sheet, 395 x 500; design, 335 x 497; separate leaf, 65 x 139.] Early impression,
on two sheets joined in tlie middle. Watermark, large bull’s head with cross aud
serpent.
Purchased from Messrs. Colnaghi & Co., 1864.
Tliis is the side whichfaced the market-place. with statues of Prudence and Justice.
The insc.riptions over these figures are not given in full, for want of space. They were
as follows :—
1. Quod tibi tam constans faveat victoria Caesar
Non modo fortunae muneris esse puta,
Sacra sed augustum moderans prudentia pectus
Hunc titulum laudis maluit esse suae.
r. Parcere subjectis et debellare superbos
Convenit ingenio Caesar inesse tuo.
Sentiat optatam per te tua turba quietem
Subque iugum per te barbarus liostis eat.
On the other side, towards the castle, were Fortitude and Temperance. The eagle,
we read, was about nine feet high. It bowed and flapped its wings as the Emperor
approached, and after he had passed through the portal it turned towards the castle
and repeated the performance on the other side. These details are taken from a
1 Repert. f. Kunstiv. xx, 208.
2 “Der Volksdichter Hans Sachs,” 1S68, p. 28, no. 32.