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XXII.
DURER. St. Francis receiving the Stigmata. B. no.
From an impression in the Collection of Mr. G. Mayer.
One of a group of woodcuts uniform in size and style, produced, like the earlier portion of the
Life of the Virgin, before Diirer’s departure for Venice in 1505.
XXIII.-XXIV.
DURER. The Life of the Virgin, continued. B. 88-91.
(See Series III., xxv.-xxvm., IV., xx.-xxm., V., xxiv.-xxvii.)
The Presentation of Christ in the Temple.
The Flight into Egypt.
The Repose in Egypt.
Christ disputing with the Doctors.
From proofs in the British Museum and in the Collection of Mr. G. Mayer.
XXV.
HANS SEBALD BEHAM. St. Erasmus.
From an impression in the British Museum.
A spirited work of Beham’s youth, recently recognised as his.1 Besides the London impression
I have seen but one other, at Dresden. Both were printed when the block had suffered some
hard usage; the early impressions have perished. The reproduction was made for an official
Catalogue of woodcuts in the Department of Prints and Drawings, and is reprinted here by permission
of the Trustees of the British Museum.
XXVI.
HANS SEBALD BEHAM.
St. Wolfgang.
From the only known impression at Coburg.
An excellent early woodcut, which I attributed to Beham on seeing it at Coburg in 1900.
The attribution has been accepted by Dr. Pauli in his Catalogue of Beham’s works (No. 902), and a
reduced facsimile appears among the plates at the end of that volume. In the drawing of the wall and
the landscape beyond this woodcut so closely resembles the large “Death and the Courtesan,” of 1521,
at Berlin (see The Burlington Magazine, April, 1903), that it may safely be assigned to about the
same date.
XXVII.
HANS SEBALD BEHAM. Vine Pattern, with a Satyr Family.
From impressions lent by Mr. P. Gellatly,formerly in the Cornill d' Orville Collection.
In a tangle of interlacing vine-stems sits a woman, crowned with oak-leaves and acorns,
turning to the right, but with her head inclined to the left. A child leans over her knee. A Satyr
crowned in like manner, playing a pipe sits to the right on a higher branch, facing to the left. A
large fantastic bird and a smaller one behind it are perched over the woman’s head.
1 Repertorium fur Kunstwissenschaft, XXV., 469, 3.
12
DURER. St. Francis receiving the Stigmata. B. no.
From an impression in the Collection of Mr. G. Mayer.
One of a group of woodcuts uniform in size and style, produced, like the earlier portion of the
Life of the Virgin, before Diirer’s departure for Venice in 1505.
XXIII.-XXIV.
DURER. The Life of the Virgin, continued. B. 88-91.
(See Series III., xxv.-xxvm., IV., xx.-xxm., V., xxiv.-xxvii.)
The Presentation of Christ in the Temple.
The Flight into Egypt.
The Repose in Egypt.
Christ disputing with the Doctors.
From proofs in the British Museum and in the Collection of Mr. G. Mayer.
XXV.
HANS SEBALD BEHAM. St. Erasmus.
From an impression in the British Museum.
A spirited work of Beham’s youth, recently recognised as his.1 Besides the London impression
I have seen but one other, at Dresden. Both were printed when the block had suffered some
hard usage; the early impressions have perished. The reproduction was made for an official
Catalogue of woodcuts in the Department of Prints and Drawings, and is reprinted here by permission
of the Trustees of the British Museum.
XXVI.
HANS SEBALD BEHAM.
St. Wolfgang.
From the only known impression at Coburg.
An excellent early woodcut, which I attributed to Beham on seeing it at Coburg in 1900.
The attribution has been accepted by Dr. Pauli in his Catalogue of Beham’s works (No. 902), and a
reduced facsimile appears among the plates at the end of that volume. In the drawing of the wall and
the landscape beyond this woodcut so closely resembles the large “Death and the Courtesan,” of 1521,
at Berlin (see The Burlington Magazine, April, 1903), that it may safely be assigned to about the
same date.
XXVII.
HANS SEBALD BEHAM. Vine Pattern, with a Satyr Family.
From impressions lent by Mr. P. Gellatly,formerly in the Cornill d' Orville Collection.
In a tangle of interlacing vine-stems sits a woman, crowned with oak-leaves and acorns,
turning to the right, but with her head inclined to the left. A child leans over her knee. A Satyr
crowned in like manner, playing a pipe sits to the right on a higher branch, facing to the left. A
large fantastic bird and a smaller one behind it are perched over the woman’s head.
1 Repertorium fur Kunstwissenschaft, XXV., 469, 3.
12