Hind, Arthur Mayger; British Museum / Department of Prints and Drawings; Colvin, Sidney [Editor]: Catalogue of early Italian engravings preserved in the Department of Prints and Drawings in the British Museum (1) (London: British Museum, 1910)

Master of the Year 1509.

559

W E N H G
15 t 09
1. PARIS AND OENONE.
Brulliot, Dictionnaire des Monogrammes., Pt. 2, 1833, No. 2724.—
Nagler, Monogrammisten, V. No. 1642.—P. v. 91, 46.
In an opening of a wood stands Paris, 1., naked but for his bow and
quiver, and sacing nearly front, his head inclined towards Oenone, who
stands r. sacing him and whom he grasps by the 1. wrist with his 1. hand.
In his r. hand he holds a horn and a hound in leash : a second hound sits
1. Oenone is naked but for a winged head-dress. Beyond the trunk os a
large tree 1. appear the heads of an ox and a sheep. Inscribed Paris and
egenoe (sor Oenone) in compartments above the figures; wenhg on the
trunk 1. os Paris’s shoulder ; and dated ir f,09 in lower r. corner.
[(211-217) x 242] Good impression.
Collection: Cracherode.
Inventory of 1837, V. 1.-44.
Other impressions : Berlin, Dresden.
This plate is technically akin to Nos. 2 and 3 of the Master of 1515. Both
signature and date have a northern appearance, but unless the tentative
suggestion made above of a northern origin for the Master of 1515 be true, we
would scarcely uphold the identity of authorship. Whether Italian or German,
the engraver shows a close dependence on Durer for his design. The figure of
Oenone is closely related to the Great Fortune, the Paris could hardly have
been done without knowledge of the Adam, and the dogs might have been
suggested by those in the 8. Eustace.