DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0103
DRY-POINTS, AND ETCHINGS.
p. 190) says the figure points to Signorelli. Thausing on the contrary writes
(I, pp. 308, 309): 11 The St. Sebastian . . . was no doubt designed directly from
a model, and perhaps in rivalry with a corresponding figure of Barbari’s in his
excellent group of the ‘ Captives.’ Diirer has not, however, managed to attain
that finely felt fidelity to nature which so favorably distinguishes this engraving
of the Italian, although he has recourse to such little naturalistic expedients as
showing the hair on the legs.” (See a reproduction of Barbari’s “ Captives,”
Supplementary Illustrations, No. VII.) (See remarks under No. 26.)
20 ST. SEBASTIAN TIED TO A COLUMN — B 56; H 783;
R 17; M 22.—Monogram on a piece of paper.
Good impression, with the corrected mouth. Absolutely clean wiped.
Duplicate from the University Library, Cambridge.
Retberg, before 1497; Heller, 1486-1500. Thausing (I, p. 227) places this
among the first original plates done by Diirer. The character of the head and
the proportions of the figure strongly resemble, as Thausing remarks, the angels
in the “ Apocalypse,” the first edition of which was published in the year 1498.
The plate is a puzzle, and it may be that it is not worth while to take any
trouble in regard to it. (See the remarks under No. 26.)
Bartsch describes two states of this plate,— before the correction of the
mouth and after the correction. There are, however, still other differences, as
shown by two impressions in the cabinet at Berlin. In the earlier of these, the
little triangular spot in the upper left-hand corner, outside of the arch, is filled
with two systems of lines crossing one another. In the second and later impres-
sion there is only one set of lines in the place indicated, following the curve of
the arch, and the whole plate has been retouched, the faint old lines showing
alongside of the heavy new ones, so as to produce somewhat the effect of
duplication. The outline is also much heavier, and shows a duplication, by a
slip of the graver, at about the middle of the left side. On the right side a bit
has been cut off, so that less of the stone is seen than in the early proofs. In
the retouched impressions, furthermore, the cross-hatching on the cheek of the
saint, to right of the lock of hair which covers the ear, has been carried down to
below this lock. There may even be a still earlier state than these two, with
the triangular space left white, but this surmise is based for the present on a
reproduction only. These remarks are not inspired by a desire to manufacture
“ states.” To the collector such external marks of priority are of value, more
especially so long as prints remain an object of trade.
21
p. 190) says the figure points to Signorelli. Thausing on the contrary writes
(I, pp. 308, 309): 11 The St. Sebastian . . . was no doubt designed directly from
a model, and perhaps in rivalry with a corresponding figure of Barbari’s in his
excellent group of the ‘ Captives.’ Diirer has not, however, managed to attain
that finely felt fidelity to nature which so favorably distinguishes this engraving
of the Italian, although he has recourse to such little naturalistic expedients as
showing the hair on the legs.” (See a reproduction of Barbari’s “ Captives,”
Supplementary Illustrations, No. VII.) (See remarks under No. 26.)
20 ST. SEBASTIAN TIED TO A COLUMN — B 56; H 783;
R 17; M 22.—Monogram on a piece of paper.
Good impression, with the corrected mouth. Absolutely clean wiped.
Duplicate from the University Library, Cambridge.
Retberg, before 1497; Heller, 1486-1500. Thausing (I, p. 227) places this
among the first original plates done by Diirer. The character of the head and
the proportions of the figure strongly resemble, as Thausing remarks, the angels
in the “ Apocalypse,” the first edition of which was published in the year 1498.
The plate is a puzzle, and it may be that it is not worth while to take any
trouble in regard to it. (See the remarks under No. 26.)
Bartsch describes two states of this plate,— before the correction of the
mouth and after the correction. There are, however, still other differences, as
shown by two impressions in the cabinet at Berlin. In the earlier of these, the
little triangular spot in the upper left-hand corner, outside of the arch, is filled
with two systems of lines crossing one another. In the second and later impres-
sion there is only one set of lines in the place indicated, following the curve of
the arch, and the whole plate has been retouched, the faint old lines showing
alongside of the heavy new ones, so as to produce somewhat the effect of
duplication. The outline is also much heavier, and shows a duplication, by a
slip of the graver, at about the middle of the left side. On the right side a bit
has been cut off, so that less of the stone is seen than in the early proofs. In
the retouched impressions, furthermore, the cross-hatching on the cheek of the
saint, to right of the lock of hair which covers the ear, has been carried down to
below this lock. There may even be a still earlier state than these two, with
the triangular space left white, but this surmise is based for the present on a
reproduction only. These remarks are not inspired by a desire to manufacture
“ states.” To the collector such external marks of priority are of value, more
especially so long as prints remain an object of trade.
21