Dodgson, Campbell: Catalogue of early German and Flemish woodcuts: preserved in the Department of Prints and Drawings in the British Museum (Band 1): [German and Flemish woodcuts of the XV century] (London, 1903)

565

COREECTIONS AND ADDITIONS.

P. 7, note 1, 1. 10. The authenticity of the date has recently been
ruaintained by M. Hymans in his essay, “ L’estampe de 1418 et la
validite de sa date ” (extrait des Bnlletins de VAcademie royale de
Belgique (classe des Beaux-Arts), no. 1, jan\der, 1903), which is accom-
panied by a reproduction of the copy, Schr. 116, at St. Gallen. The
writer has hardly proved the antiquity of the woodcut, but he establishes
the genuineness of the date, as it stands, and is able to find some analogies
to the Yirgin’s costume and the folds of the drapery in paintings of the
first half of the xv century, by Yan Eyck, Conrad Witz, etc., and in the
miniatures of the “ Hours of Turin,” executed in part before 1417.
M. Bouchot (“ Incunables,” 104) also defends the date.

P. 28, add “ An interesting example of the marked distinction
between draughtsman and woodcutter at Nuremberg, at the end of the
xv centurv, is afforded by the contract between Sebald Sclireyer and
Peter Danhauser for the pubiication of an illustrated work by the latter,
entitled ‘ Archetypus triumphantis Romae,’ which apparently was never
printed ; no copy, at least, is known to exist. The accounts for expenses
incurred from 1493 to 1497 in connection with the illustrations include
four separate kinds of payment : (1) for the first sketc-hes on paper
of the majority (217) of the figures, 9 florins odd ; (2) for the planks
(‘ pretter ’), small and great, on which the figures were cut, paid to the
joiner (£ schreiner ’), 9 fl. odd; (3) for drawing the figures on 233 large
and 83 small planks, paid to the painters 37 fl. odd; (4) for cutting the
figures on the 233 large and 83 small planks (the latter at half price),
paid to Sebolt Gallenssdorfer, £ furmschneider,’ 148 fl. ocld. The con-
tract and accounts, preserved in a Merkel MS. in the Germanic Museum,
have been published in full in Mitt. des Vereins fiir Gesch. der Stadt
Niirnberg, 1889, viii, 59-62.”

P. 37, last line of note, for “ This edition,” etc., read “ A copy of this
edition was acquired by the British Museum in 1901. Another copy is
in the Berlin Cabinet.”

P. 38, fourteenth line from bottom, for ££ 130 ” read “ 131.”

P. 39, note, for “ 140 ” read “ 104.”

P. 42, 1. 11, after “ 51 ” insert “ 60.”

P. 49, 1. 1, for “ it ” read “ X.”

P. 54 (end), after “ broadsides ” add “A copy of this Crucifixion
occurs on the title-page of Geiler von Kaisersberg’s “ Passion,” printecl by
Hans Schobser, Munich, 1516 (B.M.).”

P. 59, A 25, add “ A smaller woodcut [135 x 95] of the same subject,
but independent of A 25 in drawing, is reproduced in ZeitscJir. f. Biicher-
zeichen, 1897, vii, 6, as a book-plate (?) of the Spital of the Holy Ghost
at Berne. The woodcut has the Berne arms, and is ascribed to the year
1496, in which the Spital was consecrated after reconstruction.”

P. 69 (end), for “ Another impression,” etc., read “Another cut from
the same design, with ornamental extremities to the cross and different
text, described by Schr., is in the Berlin Cabinet (repr. Heitz and Schreiber,
‘ Pestblatter d. xv. Jahrh.,’ 1901, Taf. 1). The type used with the
British Museum cut is that of Johann Otmar, of Augsburg, after 1500,”