DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0127
DRY-POINTS, AND ETCHINGS.
The plate is assigned to about 1505 by Retberg, to 1504 by Thode. Heller
names 1486-1500, which is evidently too early. The general daintiness of treat-
ment suffices to indicate the period of 1504 to 1505. In no other plate, except-
ing “ Adam and Eve,” is there such delicate modeling of the flesh. The treat-
ment of the ground may also be cited as evidence in favor of the period named.
An examination of the earlier plates shows that in them the ground is worked
in long sweeping lines, which are crossed by shorter curved lines only in the
darkest shadows, while about the year 1504 or 1505 a more delicate treatment
begins to prevail, although it would not do to say that it becomes general. See,
besides the plate under consideration, the “ St. George Standing ” (No. 43), the
later plates of “The Little Passion,” and many of the still later plates.
The general relationship of this design to Jacopo de’ Barbari’s engraving and
to Diirer’s drawing (see Supplementary Illustrations, Nos. VIII and IX) is
evident, although there is considerable variation in detail. Grimm, on the
other hand, sees so much of Signorelli in the conception that he is “ tempted
sometimes to trace it back directly to him.”
A drawing of the Apollo alone is published by Lippmann, No. 179.
37 THE SATYR AND HIS FAMILY.—B 69; H 819; R 83;
M 39.—Monogram and date, 1505, on a tablet.
a. Very fine impression. Black ink, clean wiped, transparent even in
the darkest shadows. Watermark, bull’s head, only the flower visible.
From the St. Aubyn Collection.
b. Also a very fine impression, but somewhat too full in the darkest
shadows. This, in connection with the white paper, produces more con-
trast in this impression than in a. Slightly cut at top and bottom. Wa-
termark, large bull’s head, Hausmann, No. I. From the Marshall Col-
lection.
The impressions in Paris, London, and Berlin are all printed in pure black ink,
clean wiped, like the above,— that is to say, in the old style. The workman-
ship, in comparison with that of No. 36, is also rather old-fashioned, but the date
settles the question of position.
Called also “ The Little Satyr ” (to distinguish it from “ Hercules ” or “ The
Great Satyr,” No. 17), “Pan and Syrinx,” and “The Birth of Adonis.” For
the possible source of inspiration, see Thausing, I, p. 311.
43
The plate is assigned to about 1505 by Retberg, to 1504 by Thode. Heller
names 1486-1500, which is evidently too early. The general daintiness of treat-
ment suffices to indicate the period of 1504 to 1505. In no other plate, except-
ing “ Adam and Eve,” is there such delicate modeling of the flesh. The treat-
ment of the ground may also be cited as evidence in favor of the period named.
An examination of the earlier plates shows that in them the ground is worked
in long sweeping lines, which are crossed by shorter curved lines only in the
darkest shadows, while about the year 1504 or 1505 a more delicate treatment
begins to prevail, although it would not do to say that it becomes general. See,
besides the plate under consideration, the “ St. George Standing ” (No. 43), the
later plates of “The Little Passion,” and many of the still later plates.
The general relationship of this design to Jacopo de’ Barbari’s engraving and
to Diirer’s drawing (see Supplementary Illustrations, Nos. VIII and IX) is
evident, although there is considerable variation in detail. Grimm, on the
other hand, sees so much of Signorelli in the conception that he is “ tempted
sometimes to trace it back directly to him.”
A drawing of the Apollo alone is published by Lippmann, No. 179.
37 THE SATYR AND HIS FAMILY.—B 69; H 819; R 83;
M 39.—Monogram and date, 1505, on a tablet.
a. Very fine impression. Black ink, clean wiped, transparent even in
the darkest shadows. Watermark, bull’s head, only the flower visible.
From the St. Aubyn Collection.
b. Also a very fine impression, but somewhat too full in the darkest
shadows. This, in connection with the white paper, produces more con-
trast in this impression than in a. Slightly cut at top and bottom. Wa-
termark, large bull’s head, Hausmann, No. I. From the Marshall Col-
lection.
The impressions in Paris, London, and Berlin are all printed in pure black ink,
clean wiped, like the above,— that is to say, in the old style. The workman-
ship, in comparison with that of No. 36, is also rather old-fashioned, but the date
settles the question of position.
Called also “ The Little Satyr ” (to distinguish it from “ Hercules ” or “ The
Great Satyr,” No. 17), “Pan and Syrinx,” and “The Birth of Adonis.” For
the possible source of inspiration, see Thausing, I, p. 311.
43