DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0131
DRY-POINTS, AND ETCHINGS.
wiped. Slightly cut on all sides, false margin, restored all around with
the pen,— all of this very cleverly done.
The impressions in the European cabinets examined are all similar to a, ex-
cept the one in Berlin, which is more closely wiped than any of the others.
Very likely begun in 1505, when Diirer was specially occupied with the
horse (see No. 38), and taken up again after his return from Venice.
43 ST. GEORGE STANDING —B 53; H 737; R 121; M 31.
— Monogram on a tablet.
a. Very fine, brilliant impression. Black ink, somewhat full. Tinting
in the foreground.
b. Reversed copy, not described.
There is an impression in London which is quite picturesque in its way,— printed
in warmish ink, but with too much tinting, and indeed smudging, in the face and
around the left arm of the saint. Dresden has a good clean-wiped impression,
pure black, with very little tinting in the closest work; and Berlin a very fine
clear impression, in pure black ink, almost without any tinting whatever.
Thausing assigns this plate to about the same time as “ The Standard-Bearer ”
(No. 26 of this catalogue), i. e., shortly after 1499. Middleton calls it “ a com-
panion print ” to “ The Standard-Bearer,” and “ probably of the same date.”
Heller places it between 1507 and 1514; Retberg and Hausmann about 1508,
contemporaneous, that is to say, with the “St. George on Horseback” (No.
42). The two “ St. George ” are unquestionably of the same workmanship, and
must, therefore, be placed together. They are totally different in this respect
from “ The Standard-Bearer,” which is considerably earlier. It may seem im-
probable that Diirer should have treated the same subject twice at the same
time, but there are other similar instances. “ The Little Horse ” and “ The
Great Horse” are both dated 1505, and the two “Saint Christopher” (Nos.
96 and 97), 1521. The graver slip, along the upper half of the right margin,
seems to be on all impressions.
St. George, according to the legend, was a prince of Cappadocia, who died the
death of a martyr under Diocletian. His most celebrated deed was the killing
of the dragon which threatened to devour the royal princess Aja. The legend
is of Oriental origin, and was introduced into Europe by the Crusaders. It is
stated that the Emperor Maximilian I reorganized the order of St. George,
which had fallen into decay, and possibly Diirer’s two engravings of the saint
were inspired by this action.
47
wiped. Slightly cut on all sides, false margin, restored all around with
the pen,— all of this very cleverly done.
The impressions in the European cabinets examined are all similar to a, ex-
cept the one in Berlin, which is more closely wiped than any of the others.
Very likely begun in 1505, when Diirer was specially occupied with the
horse (see No. 38), and taken up again after his return from Venice.
43 ST. GEORGE STANDING —B 53; H 737; R 121; M 31.
— Monogram on a tablet.
a. Very fine, brilliant impression. Black ink, somewhat full. Tinting
in the foreground.
b. Reversed copy, not described.
There is an impression in London which is quite picturesque in its way,— printed
in warmish ink, but with too much tinting, and indeed smudging, in the face and
around the left arm of the saint. Dresden has a good clean-wiped impression,
pure black, with very little tinting in the closest work; and Berlin a very fine
clear impression, in pure black ink, almost without any tinting whatever.
Thausing assigns this plate to about the same time as “ The Standard-Bearer ”
(No. 26 of this catalogue), i. e., shortly after 1499. Middleton calls it “ a com-
panion print ” to “ The Standard-Bearer,” and “ probably of the same date.”
Heller places it between 1507 and 1514; Retberg and Hausmann about 1508,
contemporaneous, that is to say, with the “St. George on Horseback” (No.
42). The two “ St. George ” are unquestionably of the same workmanship, and
must, therefore, be placed together. They are totally different in this respect
from “ The Standard-Bearer,” which is considerably earlier. It may seem im-
probable that Diirer should have treated the same subject twice at the same
time, but there are other similar instances. “ The Little Horse ” and “ The
Great Horse” are both dated 1505, and the two “Saint Christopher” (Nos.
96 and 97), 1521. The graver slip, along the upper half of the right margin,
seems to be on all impressions.
St. George, according to the legend, was a prince of Cappadocia, who died the
death of a martyr under Diocletian. His most celebrated deed was the killing
of the dragon which threatened to devour the royal princess Aja. The legend
is of Oriental origin, and was introduced into Europe by the Crusaders. It is
stated that the Emperor Maximilian I reorganized the order of St. George,
which had fallen into decay, and possibly Diirer’s two engravings of the saint
were inspired by this action.
47