DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0121
38
Florentine—Fine Manner.
[A. II.
the text of Isaiah iii. 25, 26. iv. 1. There is another version of the same
subject by the German Master of 1464 (or of the ‘ Banderoles ’ as he is also
called) in the Berlin Print Room (reproduced Pr. Jahrbuch VII. 73, and Chalc.
Soc. 1886, No. 8). It is almost certainly an adaptation of the Italian original.
Later prints illustrating the subject (but not repeating the same design) exist
by Balthasar Jenichen, John Smith and others.
Many points of design and costume are identical with the Chronicle
drawings, e.g. the upstanding forelocks of the women, the close, regular
pleating of the gowns at the girdle, the long straight folds of the skirt and the
way they spread upon the ground, the embroidered imprese upon the sleeves
and short cloaks: and some of these points recur again later in the Otto
prints. The gowns in this print should be compared with that of Susannah in
the Chronicle (fol. 49a, S. C. plate 81) as well as with the kneeling serving-
woman on fol. 56a (S. C. plate 94) and Andromache on fol. 37a (S. C.
plate 59). Among the Otto prints the two plates of the Chastisement of
Cupid (A. IV. 5, f6) show the closest analogies.
4. THE ROAD TO CALVARY AND THE CRUCIFIXION. Undescribed.
In front r. are the gate and towrers os Jerusalem, over which is a scroll
bearing the legend iervsalem. Out os this gate passes the procession to
Calvary, occupying the entire soreground. To the 1. walk the two thieves
and Christ bearing the Cross, all three bound together with a rope.
Christ looks down at a soldier behind him, who thrusts back with a mace
the Virgin and two os the other holy women. These are followed by
three soldiers on foot and a mounted captain in rich armour accompanied
by a standard bearer. Farther back 1. the escort have entered a narrow
rocky defile, and their spears project above its walls ; while the foremost
soldiers have already emerged, and are seen in the middle distance moving
towards the r. on the steep ascent to Calvary. A brook, descending from
the hill above the city r., winds through the rocky landscape between
Jerusalem and Calvary. R. of this brook stands a small temple; on the
other bank, across a bridge, a soldier has laid aside his shield and helmet
and lies down to drink. On the summit of Calvary stand the three
crosses, and around them several groups os soldiers and Jews. Christ is
already nailed to the central cross, which is surmounted by a scroll with
the legend inri. To 1. stands a man with a sponge lifted up on a spear ;
below, a boy with a mallet drives in wedges at the foot os the cross. To
the r. one os the thieves is being raised on a ladder to his cross : the
second thief kneels near the centre before a judge whose scribe is writing
on a roll. On a hill 1. sit the group os mourners who had followed Christ
to Calvary, and beyond them is a horseman bearing a ssag inscribed SP'iR.
The hills 1. and r. are surmounted each by a castle.
[267 X 201] Early impression, lightly and somewhat irregularly printed; cut along
1. margin and in upper and lower r. corners: the parts missing carefully restored
in ink. The impression as unrestored showed the plate line and a good margin
only above and below: in the upper margin the word Jerusalem (with the J
repeated) had been written in ink by a contemporary hand, but this was removed
by the restorer. The impression was found pasted inside a book, but Signor
Grandi, through whose hands it came into the Gutekunst sale, is unable to
inform us of its provenance. Watermark 2a.
Purchased 1899. 5. 16. 1.
Reproductions: Pl. ix (of the present volume); Gutekunst sale catalogue, Stuttgart
1899 (No. 507).
No other impression of this print or of the early copy of it which follows is
known. The fashion and details of architecture, armour and costume, the
Florentine—Fine Manner.
[A. II.
the text of Isaiah iii. 25, 26. iv. 1. There is another version of the same
subject by the German Master of 1464 (or of the ‘ Banderoles ’ as he is also
called) in the Berlin Print Room (reproduced Pr. Jahrbuch VII. 73, and Chalc.
Soc. 1886, No. 8). It is almost certainly an adaptation of the Italian original.
Later prints illustrating the subject (but not repeating the same design) exist
by Balthasar Jenichen, John Smith and others.
Many points of design and costume are identical with the Chronicle
drawings, e.g. the upstanding forelocks of the women, the close, regular
pleating of the gowns at the girdle, the long straight folds of the skirt and the
way they spread upon the ground, the embroidered imprese upon the sleeves
and short cloaks: and some of these points recur again later in the Otto
prints. The gowns in this print should be compared with that of Susannah in
the Chronicle (fol. 49a, S. C. plate 81) as well as with the kneeling serving-
woman on fol. 56a (S. C. plate 94) and Andromache on fol. 37a (S. C.
plate 59). Among the Otto prints the two plates of the Chastisement of
Cupid (A. IV. 5, f6) show the closest analogies.
4. THE ROAD TO CALVARY AND THE CRUCIFIXION. Undescribed.
In front r. are the gate and towrers os Jerusalem, over which is a scroll
bearing the legend iervsalem. Out os this gate passes the procession to
Calvary, occupying the entire soreground. To the 1. walk the two thieves
and Christ bearing the Cross, all three bound together with a rope.
Christ looks down at a soldier behind him, who thrusts back with a mace
the Virgin and two os the other holy women. These are followed by
three soldiers on foot and a mounted captain in rich armour accompanied
by a standard bearer. Farther back 1. the escort have entered a narrow
rocky defile, and their spears project above its walls ; while the foremost
soldiers have already emerged, and are seen in the middle distance moving
towards the r. on the steep ascent to Calvary. A brook, descending from
the hill above the city r., winds through the rocky landscape between
Jerusalem and Calvary. R. of this brook stands a small temple; on the
other bank, across a bridge, a soldier has laid aside his shield and helmet
and lies down to drink. On the summit of Calvary stand the three
crosses, and around them several groups os soldiers and Jews. Christ is
already nailed to the central cross, which is surmounted by a scroll with
the legend inri. To 1. stands a man with a sponge lifted up on a spear ;
below, a boy with a mallet drives in wedges at the foot os the cross. To
the r. one os the thieves is being raised on a ladder to his cross : the
second thief kneels near the centre before a judge whose scribe is writing
on a roll. On a hill 1. sit the group os mourners who had followed Christ
to Calvary, and beyond them is a horseman bearing a ssag inscribed SP'iR.
The hills 1. and r. are surmounted each by a castle.
[267 X 201] Early impression, lightly and somewhat irregularly printed; cut along
1. margin and in upper and lower r. corners: the parts missing carefully restored
in ink. The impression as unrestored showed the plate line and a good margin
only above and below: in the upper margin the word Jerusalem (with the J
repeated) had been written in ink by a contemporary hand, but this was removed
by the restorer. The impression was found pasted inside a book, but Signor
Grandi, through whose hands it came into the Gutekunst sale, is unable to
inform us of its provenance. Watermark 2a.
Purchased 1899. 5. 16. 1.
Reproductions: Pl. ix (of the present volume); Gutekunst sale catalogue, Stuttgart
1899 (No. 507).
No other impression of this print or of the early copy of it which follows is
known. The fashion and details of architecture, armour and costume, the