Citation link:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1902/0014
XIVa. /
Woodcut Portrait of Eobanus Hessus, after Diirer. p. 218.
From the impresston in the British Museum^ from the Mitchell collection.
The woodcut, evidently not drawn by Diirer himself upon the block, reproduces the drawing
in reverse, on a smaller scale, with the addition of the hands and of a wall in the background. The
word “ Verte ” calls attention to certain epigrams by Joannes Alexander Brassicanus, “ In Imaginem
Eobani Hessi sui ab Alberto Diirero huius aetatis Apelle graphice expressam,” which are printed on
the back of the leaf. Both pages are reproduced by Ephrussi, pp. 334, 335.
The woodcut has been called unique, but its rarity has been exaggerated. It appeared as the
illustration of a scarce book, an elegy by Hessus, addressed to John Frederick, Duke of Saxony,
of which two editions were printed, in 1526 and 1527, by Peypus at Nuremberg. The Berlin
Cabinet possesses a perfect copy of the first edition (August 1st, 1526) ; the Munich copy lacks the
woodcut. The Albertina has a proof, or presentation copy, of the woodcut alone, on vellum, with
the verses below, but no “ Verte ” and no epigrams on the back. The portrait was published again
in 1540, at Zwickau, on the occasion of the poet’s death.
ENGRAVINGS.
xv./
The Prodigal Son. B. 28.
From an impression in the British Museum.
Perhaps the most popular of Diirer’s early engravings. It is the fifth in Koehler’s chronological
list, and dates from the end of the fifteenth century.
XVI.
The Engraved Passion, continued. (See II. xvi.)
9. Pilate washing his hands, 1512. B. 11.
10. Christ bearing the Cross, 1512. B. 12.
11. Christ on the Cross, 1511. B. 13.
12. The Lamentation for Christ, 1507. B. 14.
From impressions in the British Museum.
The last subject, it will be observed, was engraved a year earlier than any other plate of the
series. Ten out of the sixteen subjects belong to the year 1512.
XVII. *
St. Jerome by the Willow Tree. 1512. B. 59.
From the British Museum impression of the first state.
In the second state Diirer’s monogram was added on the flat side of the upright rock on the
left. This plate was executed with the dry-point, and the early impressions, of which the one here
reproduced is the finest, are very rich in bur. Only one other impression of the first state exists, in
the Albertina, Vienna. Good impressions of the second state are also very rare, for the plate wore
out quickly. The peculiar velvety look of the rich bur cannot be given by any reproduction.
11
Woodcut Portrait of Eobanus Hessus, after Diirer. p. 218.
From the impresston in the British Museum^ from the Mitchell collection.
The woodcut, evidently not drawn by Diirer himself upon the block, reproduces the drawing
in reverse, on a smaller scale, with the addition of the hands and of a wall in the background. The
word “ Verte ” calls attention to certain epigrams by Joannes Alexander Brassicanus, “ In Imaginem
Eobani Hessi sui ab Alberto Diirero huius aetatis Apelle graphice expressam,” which are printed on
the back of the leaf. Both pages are reproduced by Ephrussi, pp. 334, 335.
The woodcut has been called unique, but its rarity has been exaggerated. It appeared as the
illustration of a scarce book, an elegy by Hessus, addressed to John Frederick, Duke of Saxony,
of which two editions were printed, in 1526 and 1527, by Peypus at Nuremberg. The Berlin
Cabinet possesses a perfect copy of the first edition (August 1st, 1526) ; the Munich copy lacks the
woodcut. The Albertina has a proof, or presentation copy, of the woodcut alone, on vellum, with
the verses below, but no “ Verte ” and no epigrams on the back. The portrait was published again
in 1540, at Zwickau, on the occasion of the poet’s death.
ENGRAVINGS.
xv./
The Prodigal Son. B. 28.
From an impression in the British Museum.
Perhaps the most popular of Diirer’s early engravings. It is the fifth in Koehler’s chronological
list, and dates from the end of the fifteenth century.
XVI.
The Engraved Passion, continued. (See II. xvi.)
9. Pilate washing his hands, 1512. B. 11.
10. Christ bearing the Cross, 1512. B. 12.
11. Christ on the Cross, 1511. B. 13.
12. The Lamentation for Christ, 1507. B. 14.
From impressions in the British Museum.
The last subject, it will be observed, was engraved a year earlier than any other plate of the
series. Ten out of the sixteen subjects belong to the year 1512.
XVII. *
St. Jerome by the Willow Tree. 1512. B. 59.
From the British Museum impression of the first state.
In the second state Diirer’s monogram was added on the flat side of the upright rock on the
left. This plate was executed with the dry-point, and the early impressions, of which the one here
reproduced is the finest, are very rich in bur. Only one other impression of the first state exists, in
the Albertina, Vienna. Good impressions of the second state are also very rare, for the plate wore
out quickly. The peculiar velvety look of the rich bur cannot be given by any reproduction.
11