DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0105
DRY-POINTS, AND ETCHINGS.
Called also “ The Hostess and the Cook,” “ The Cook and the House-
keeper,” and “ Mohammed and his Wife,” the latter, impossible as it may seem,
“because,” according to Heller, “ the dove sits upon the back of the cook, and
it is said that a divine dove often alighted upon his [Mohammed’s] shoulders,
and communicated to him his religious system.” Might it be a piece of Durer-
esque humor, to be interpreted as a caricature of Mohammed, as a man given to
worldly lusts, and therefore thinking of nothing but cooking and women, even while
he is listening to the pretended divine message ? (See remarks under No. 26.)
23 THE PEASANT AND HIS WIFE— B 83; H 921; R 11;
M 14.—Monogram.
Fine impression, black ink, clean wiped. Paper rather dull, which re-
duces the brilliancy the impression would otherwise have. Cut about
one eighth of an inch on right side.
Retberg, before 1495; Heller, 1486-1500; Middleton, “executed early in
1496.”
There is much diversity in the attempted interpretation of this print. Bartsch
says that “ the anger expressed in the peasant’s face, and his elevated right hand,
show that he menaces the woman who walks meekly by his side.” Heller fol-
lows him, with the addition that he sees in the companion of the peasant a wo-
man about to become a mother. An idea similar to Bartsch’s is expressed in
the title “ The Drunken Lansquenet,” while, by way of contrast, others see in
the couple a pair of “ Rustic Lovers.” Thausing (I, p. 309) adopts the latter
title, and declares the print to be a skit upon the conceit of the peasantry, an
idea elaborated before him by Allihn (p. 79, etc.), who says that the pair “is
about to step up to the dance, and that the man, far from scolding, is on the
contrary trying to make himself agreeable.” (See also No. 24, and the remarks
under No. 26.)
24 THE THREE PEASANTS IN CONVERSATION — B 86;
H 948; R 15; M 15.—Monogram.
a. A brilliant impression, as the phrase goes, but really somewhat too
full, although clean wiped. Pure black ink. From the Fisher Collection.
b. An even finer impression than a, because not so full. Its brilliancy
is, however, again somewhat impaired, like that of No. 23, by the dull-
23
Called also “ The Hostess and the Cook,” “ The Cook and the House-
keeper,” and “ Mohammed and his Wife,” the latter, impossible as it may seem,
“because,” according to Heller, “ the dove sits upon the back of the cook, and
it is said that a divine dove often alighted upon his [Mohammed’s] shoulders,
and communicated to him his religious system.” Might it be a piece of Durer-
esque humor, to be interpreted as a caricature of Mohammed, as a man given to
worldly lusts, and therefore thinking of nothing but cooking and women, even while
he is listening to the pretended divine message ? (See remarks under No. 26.)
23 THE PEASANT AND HIS WIFE— B 83; H 921; R 11;
M 14.—Monogram.
Fine impression, black ink, clean wiped. Paper rather dull, which re-
duces the brilliancy the impression would otherwise have. Cut about
one eighth of an inch on right side.
Retberg, before 1495; Heller, 1486-1500; Middleton, “executed early in
1496.”
There is much diversity in the attempted interpretation of this print. Bartsch
says that “ the anger expressed in the peasant’s face, and his elevated right hand,
show that he menaces the woman who walks meekly by his side.” Heller fol-
lows him, with the addition that he sees in the companion of the peasant a wo-
man about to become a mother. An idea similar to Bartsch’s is expressed in
the title “ The Drunken Lansquenet,” while, by way of contrast, others see in
the couple a pair of “ Rustic Lovers.” Thausing (I, p. 309) adopts the latter
title, and declares the print to be a skit upon the conceit of the peasantry, an
idea elaborated before him by Allihn (p. 79, etc.), who says that the pair “is
about to step up to the dance, and that the man, far from scolding, is on the
contrary trying to make himself agreeable.” (See also No. 24, and the remarks
under No. 26.)
24 THE THREE PEASANTS IN CONVERSATION — B 86;
H 948; R 15; M 15.—Monogram.
a. A brilliant impression, as the phrase goes, but really somewhat too
full, although clean wiped. Pure black ink. From the Fisher Collection.
b. An even finer impression than a, because not so full. Its brilliancy
is, however, again somewhat impaired, like that of No. 23, by the dull-
23