DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0404
300 Engravings of Miscellaneous and Uncertain Schools. [F. I.
Probably Florentine. In character of engraving some analogy is found
in the S'. Peter Martyr of the early Florentine group (A. I. 14). The present
example seems later however, and unless altogether disfigured in the rework,
can hardly be by the same hand. In its types and manner of drawing it should
also be compared with the Ritual Murder os 8. Simon of Trent (P. V. 23, 43 ;
Dresden, F. A.). The subject is one common enough in northern art, e.g. the
famous enamelled cup once in the collection of Lord Arundel of Wardour and
afterwards in that of Herr Thewalt at Cologne (see Thewalt sale catalogue,
1903, no. 989), the painted table of Holbein in the National Museum at Zurich,
the primitive woodcut, Schreiber, No. 1985, etc., etc., but hardly occurring in
the art of Italy, unless indeed it is indicated in the Fiera alle Bertuccie
(Monkey’s Fair), which occurs on a vase mentioned in one of the inventories
of Piero de’ Medici (1464).1 Keats seems to be alluding to the story in his
burlesque rhymed verses telling of the mule who, having lost his mistress (a
princess who would enter Fairyland), takes advantage of the thievish monkeys
to get rid of his bridle.2
7. THE NATIVITY: THE VIRGIN ADORING THE CHILD.
Undescribed.
The Nativity is represented within an oblong frame of rich archi-
tectural design. The Virgin kneels toward the r., with folded hands,
before the infant Christ who lies in the centre upon a sold of his mother’s
mantle. A ssowering plant in a vase stands on a ledge in front, and
farther back towards the 1. is a group os five angels kneeling with a book
open in their midst. Above in the centre is God the Father, from whom
rays os light descend towards the Child. An angel ssies on either side;
each holds a scroll with the legend gloria in excelsis deo (1.), et in
terra pax hom (r.). In a lunette above is a half-length figure of Christ
as the man of sorrows, standing in an open tomb, wearing the crowm of
thorns and showing the wounds in his hands and side.
[233 X 173] Modern impression from a brass plate (1863. 1. 10. 276) now in the
department.
Presented with the plate by Sir J. C. Robinson, 1863. 1. 10. 277.
Other modern impressions: Berlin (from the Helbig Sale, 1907, No. 1008), Paris
(E. de R.) (from the Angiolini sale, 1895, No. 184).
Reproduction : Illustr. D. I. 7.
The plate is probably an original work of the fifteenth century coarsely
reworked. As it stands however even its authenticity is not altogether
convincing. The only other point of comparison for the ornament in the
upper corners to which I can refer is the Man of Sorrows (A. I. 15), which
itself is not of unquestionable authenticity. The ornament on the other parts
of the frame has analogies in the early Florentine work of the Master of the
Larger Vienna Passion (e.g. Triumph of Chastity, A. I. f3 (2)).
The use of brass is curious. There are two other examples of this in the
department, two plates of the Goltzius school, contemporary copies after
J. Matham (B. 157 and 158). An entry at the end of the Rosselli inventory of
1528 (Pesorno tutte le sopra dete forme di rame e ottone e stangno Libre 475)
shows that brass and pewter (or tin) were in regular use as well as copper for
engraving in the fifteenth and sixteenth centuries.
1 See E. Muntz, Histoire de VArt pendant la Renaissance, 1889, Vol. I.
p. 306, and Les Collections des Medicis au quinzieme siecle, 1888, p. 40.
2 Keats, an Extempore; from Posthumous and Fugitive Pieces, ed. H.
Buxton Forman, 1906, p. 349.
Probably Florentine. In character of engraving some analogy is found
in the S'. Peter Martyr of the early Florentine group (A. I. 14). The present
example seems later however, and unless altogether disfigured in the rework,
can hardly be by the same hand. In its types and manner of drawing it should
also be compared with the Ritual Murder os 8. Simon of Trent (P. V. 23, 43 ;
Dresden, F. A.). The subject is one common enough in northern art, e.g. the
famous enamelled cup once in the collection of Lord Arundel of Wardour and
afterwards in that of Herr Thewalt at Cologne (see Thewalt sale catalogue,
1903, no. 989), the painted table of Holbein in the National Museum at Zurich,
the primitive woodcut, Schreiber, No. 1985, etc., etc., but hardly occurring in
the art of Italy, unless indeed it is indicated in the Fiera alle Bertuccie
(Monkey’s Fair), which occurs on a vase mentioned in one of the inventories
of Piero de’ Medici (1464).1 Keats seems to be alluding to the story in his
burlesque rhymed verses telling of the mule who, having lost his mistress (a
princess who would enter Fairyland), takes advantage of the thievish monkeys
to get rid of his bridle.2
7. THE NATIVITY: THE VIRGIN ADORING THE CHILD.
Undescribed.
The Nativity is represented within an oblong frame of rich archi-
tectural design. The Virgin kneels toward the r., with folded hands,
before the infant Christ who lies in the centre upon a sold of his mother’s
mantle. A ssowering plant in a vase stands on a ledge in front, and
farther back towards the 1. is a group os five angels kneeling with a book
open in their midst. Above in the centre is God the Father, from whom
rays os light descend towards the Child. An angel ssies on either side;
each holds a scroll with the legend gloria in excelsis deo (1.), et in
terra pax hom (r.). In a lunette above is a half-length figure of Christ
as the man of sorrows, standing in an open tomb, wearing the crowm of
thorns and showing the wounds in his hands and side.
[233 X 173] Modern impression from a brass plate (1863. 1. 10. 276) now in the
department.
Presented with the plate by Sir J. C. Robinson, 1863. 1. 10. 277.
Other modern impressions: Berlin (from the Helbig Sale, 1907, No. 1008), Paris
(E. de R.) (from the Angiolini sale, 1895, No. 184).
Reproduction : Illustr. D. I. 7.
The plate is probably an original work of the fifteenth century coarsely
reworked. As it stands however even its authenticity is not altogether
convincing. The only other point of comparison for the ornament in the
upper corners to which I can refer is the Man of Sorrows (A. I. 15), which
itself is not of unquestionable authenticity. The ornament on the other parts
of the frame has analogies in the early Florentine work of the Master of the
Larger Vienna Passion (e.g. Triumph of Chastity, A. I. f3 (2)).
The use of brass is curious. There are two other examples of this in the
department, two plates of the Goltzius school, contemporary copies after
J. Matham (B. 157 and 158). An entry at the end of the Rosselli inventory of
1528 (Pesorno tutte le sopra dete forme di rame e ottone e stangno Libre 475)
shows that brass and pewter (or tin) were in regular use as well as copper for
engraving in the fifteenth and sixteenth centuries.
1 See E. Muntz, Histoire de VArt pendant la Renaissance, 1889, Vol. I.
p. 306, and Les Collections des Medicis au quinzieme siecle, 1888, p. 40.
2 Keats, an Extempore; from Posthumous and Fugitive Pieces, ed. H.
Buxton Forman, 1906, p. 349.